France - One song per day.

User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Dobet Gnahoré - Lève-toi - 2021
Côte d'Ivoire

Album: Couleur

Wikipédia:
Dobet Gnahoré is the eldest daughter of Boni Gnahoré, master percussionist of the Ki Yi M'Bock Company of Abidjan, directed by Werewere Liking. Abandoned by her mother at birth, she was raised in her village, called Kragbalilié, by her grandmother. In this village of the Guebié canton, she participated in the work in the fields. At the age of 6, she joined her father in Abidjan, speaking only the traditional language of the village where she had grown up5. She left school at the age of 12 to join her father's company of artists where she learned theater, dance, music and singing. She practiced several styles of music. In 1999, when she was 23 years old, Dobet Gnahoré left the Ivory Coast to settle in France. Dancer and musician singer, today Dobet Gnahoré is also one of the most important Ivorian artists.

After three years of training in the performing arts, she left Kiyi M'bock to join Beatrice Combe's large Afro-contemporary dance company Tchétché, where she stayed for a year and gained more experience. In 1996, she met the French guitarist Colin Laroche de Féline who was at the time the guitarist of her father Boni Gnahoré, with whom she composed several songs. Together, they formed the duo Ano Neko in 1999, which means "Let's create together" in Bété (her native language). The album Ano Neko was released in 2004 with 16 tracks composed mainly in Bété. She also sings in a multitude of languages such as: Malinké, Lingala, Wolof.
In 2001, she participated for the first time in Masa, one of the largest African cultural markets.

In 2003, the duo is completed by the Tunisian Nabil Mehrezi on bass and Samba on percussion. The group then refocuses on the name of "Dobet Gnahoré".

In 2003, she signed with the production company Contre Jour (Belgium), with which she released four albums.

In 2010, she became the first Ivorian artist to win a Grammy Award for the original composition of PALEA covered by the singer India Arie. From 2010, Clive Govinden and Boris Tchango are the bassist and drummer respectively. In her fourth album, she sings in Bété, Malinké, Dida, Lingala, Haitian Creole, French and English.

For her fifth album, Miziki, released in 2018, Dobet Gnahoré enlisted the services of Nicolas Repac to achieve a more Afro-electro sound. She had appreciated the work of the French producer with the Malian singer Mamani Keïta. In this album, which the singer describes as "more personal", she addresses the themes of "compassion, love, peace, education . This album is considered "luminous" by the French daily Le Monde.

...
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Opéra de Nuit - Invitation - 1986
Cold wave

Album: Sourire de l'ombre

Opéra de nuit is a French cold wave and post-punk band founded in 1982 in Valréas near Avignon in the Vaucluse (84) by ERIK ADRIEN (vocals/guitar/keyboards), JEAN-FRANCOIS CHALEYSSIN (bass), FRANCK ADRIEN (drums/keyboards), RICHARD FEKKAR (synths) and AZZEDINE.

Des anges de feu tournent autour de ma tête
Je n'ai plus envie de les chasser.
Ne crois pas stupide la folie qui me guette
Le sérieux pour moi c'est du passé.

Dans ma démence je t'invite tendrement

Dans ma démence je t'invite...

Si ma vie explose comme une boule de cristal
C'est que j'ai bien voulu la détruire.
Tu ne comprends pas ce brouillard cervical
Mais tu as bien envie de me suivre.

Dans ma démence je t'invite tendrement
Dans ma démence je t'invite...

Et je pense à la croix et je crois en la danse
Ensorcelée et mortuaire.
Je suis sûr que pour toi c'est ta dernière chance
Si tu as le courage de le faire.

Dans ma démence je t'invite tendrement
Dans ma démence je t'invite...
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Edgard Varèse - Ionisation - 129-1931 - Musique classique
Modern classical

Edgard Victor Achille Charles Varèse (French: [ɛdɡaʁ viktɔʁ aʃil ʃaʁl vaʁɛz]; also spelled Edgar; December 22, 1883 – November 6, 1965)[2] was a French composer.

Varèse's music emphasizes timbre and rhythm. He coined the term "organized sound" in reference to his own musical aesthetic. Varèse's conception of music reflected his vision of "sound as living matter" and of "musical space as open rather than bounded". He conceived the elements of his music in terms of "sound-masses", likening their organization to the natural phenomenon of crystallization. Varèse thought that "to stubbornly conditioned ears, anything new in music has always been called noise", and he posed the question, "what is music but organized noises?"

Although his complete surviving works only last about three hours, he has been recognised as an influence by several major composers of the late 20th century. Varèse saw potential in using electronic media for sound production, and his use of new instruments and electronic resources led to his being known as the "Father of Electronic Music" whilst Henry Miller described him as "The stratospheric Colossus of Sound".

Varèse actively promoted performances of works by other 20th-century composers and founded the International Composers' Guild in 1921 and the Pan-American Association of Composers in 1926.
Ionisation (1929–1931) is a musical composition by Edgard Varèse written for thirteen percussionists. It was among the first concert hall compositions for percussion ensemble alone, although Alexander Tcherepnin had composed an entire movement for percussion alone in his Symphony No. 1 from 1927. In the journal Tempo, percussionist Brian Holder writes, "The work presented the important notion that unpitched percussion (with piano and other pitched instruments coming in at the end) could stand alone as a serious form of concert music – a relatively unexplored concept at the time."

The premiere was at Carnegie Chapter Hall, an annex to New York City's Carnegie Hall, on March 6, 1933, conducted by Nicolas Slonimsky, to whom the piece was later dedicated. One critic described the performance as "a sock in the jaw."


Ionisation features the expansion and variation of rhythmic cells, and the title refers to the ionization of molecules. As the composer later described, "I was not influenced by composers as much as by natural objects and physical phenomena." (Schuller 1965, p. 34) Varèse also acknowledged the influence of the Italian Futurist artists Luigi Russolo and Filippo Tommaso Marinetti in the composition of this work.

Both Chou Wen-chung and Jean-Charles François have analyzed the structure and timbre features of Ionisation in detail. András Wilheim has noted that only the last 17 measures of Ionisation include musical tones of the "traditional tonal system", where any five successive chords contain the 12 tones of the chromatic scale. Holder writes, "The reconceptualization of pitch was one of Varèse's great insights. He was able to reinvent the role of concert percussion in a radical and refreshing manner, primarily by establishing pitch relationships between instruments of individually indeterminate pitch... its performance is a reenactment of a great rite of passage for what was then a fresh and previously unrecognized musical ensemble."

Frank Zappa often claimed that Ionisation inspired him to pursue a career in music, as it was supposedly the first album he purchased.

Jack Skurnick, director of EMS Recordings, produced early post-war recordings of Varèse; this piece appears on the first Varèse LP, EMS 401: Complete Works of Edgar Varèse, Volume 1. Ionisation had also been the first work by Varèse to be recorded in the 1930s, conducted by Nicolas Slonimsky and issued on 78rpm Columbia 4095M. The players for the recording included, in addition to the composer himself on the sirens, Carlos Salzedo on Chinese blocks, Paul Creston on anvils, Wallingford Riegger on guiro, Henry Cowell on piano, and William Schuman on the lion's roar.

Octandre was also recorded and issued on 78rpm discs in the later 1930s, complete (New Music Quarterly Recordings 1411) and as an excerpt (3rd movement, Columbia DB1791 in Volume V of their History of Music).

An analytical section by section breakdown:
http://www.ntmusic.org.uk/?page_id=636
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Daniel Balavoine - Le chanteur - 1978
Pop, Chanson, Synthpop, Pop Rock, Show Tunes, Rock

album: Le chanteur (RYM: 3,40/5)

Wikipédia:
Daniel Xavier-Marie Balavoine (French pronunciation: ​[danjɛl ɡzavje maʁi balavwan]; 5 February 1952 – 14 January 1986) was a French singer and songwriter. He was hugely popular in the French-speaking world, and inspired many singers in the 1980s, such as Jean-Jacques Goldman, Michel Berger, who was his closest friend, and the Japanese pop-rock group Crystal King; he was also a part of the original cast of the rock opera Starmania in 1978, which was written by Berger. He took part in French political life and is known for a 1980 televised verbal confrontation with then-presidential candidate François Mitterrand.

In the French music-business, Balavoine earned his own place with his powerful voice, his wide range, and his lyrics, which were full of sadness and revolt. He is considered empathetic, and his songs dealt in themes of despair, pain, and death, although hope was present as well. He sold more than 20 million records during his career.

The song:
Le Chanteur is a song written, composed and performed in 1978 by Daniel Balavoine. It was the 6th song on the LP Le Chanteur, the studio album that opened the B-side, released in June 1978. It was a huge commercial success as a single, and its sales led to a gold record.

Le Chanteur has become a landmark song in Balavoine's repertoire, and is also the song that really launched his career.

In the course of this song (not autobiographical), Balavoine recounts the different stages of a singer's life and career. The song begins with the beginnings of the young artist's career, his desires and dreams of success. Balavoine describes a musician in the making who is already planning his entire career, but in a fatalistic way: a huge but ephemeral success, followed by a long period of stagnation, a decline at the end of which "[he wants] to die unhappy so as not to regret anything.
Je me présente, je m'appelle Henri
Je voudrais bien réussir ma vie, être aimé
Être beau gagner de l'argent
Puis surtout être intelligent
Mais pour tout ça il faudrait que je bosse à plein temps

Je suis chanteur, je chante pour mes copains
Je veux faire des tubes et que ça tourne bien, tourne bien
Je veux écrire une chanson dans le vent
Un air gai, chic et entraînant
Pour faire danser dans les soirées de Monsieur Durand

Et partout dans la rue
Je veux qu'on parle de moi
Que les filles soient nues
Qu'elles se jettent sur moi
Qu'elles m'admirent, qu'elles me tuent
Qu'elles s'arrachent ma vertu

Pour les anciennes de l'école
Devenir une idole
Je veux que toutes les nuits
Essoufflées dans leur lit
Elles trompent leurs maris
Dans leurs rêves maudits

Puis après je ferai des galas
Mon public se prosternera devant moi
Des concerts de cent mille personnes
Où même le tout-Paris s'étonne
Et se lève pour prolonger le combat

Et partout dans la rue
Je veux qu'on parle de moi
Que les filles soient nues
Qu'elles se jettent sur moi
Qu'elles m'admirent, qu'elles me tuent
Qu'elles s'arrachent ma vertu

Puis quand j'en aurai assez
De rester leur idole
Je remonterai sur scène
Comme dans les années folles
Je ferai pleurer mes yeux
Je ferai mes adieux

Et puis l'année d'après
Je recommencerai
Et puis l'année d'après
Je recommencerai
Je me prostituerai
Pour la postérité

Les nouvelles de l'école
Diront que je suis pédé
Que mes yeux puent l'alcool
Que je fais bien d'arrêter
Brûleront mon auréole
Saliront mon passé

Alors je serai vieux
Et je pourrai crever
Je me chercherai un Dieu
Pour tout me pardonner
Je veux mourir malheureux
Pour ne rien regretter
Je veux mourir malheureux

Here I am my name is Henry,
I would like a successful life,
To be loved.
To be good-looking, to make good money,
And above all to be smart,
but for all of this, I would have to work full time.

I can sing - I do for my friends,
I want to make hit songs, I want it to workout, really workout.
I want to write a trendy song,
A merry, chic, catchy tune
To have them dancing at Mr Durand's parties.

And in each and every street,
I want them to talk about me,
I want the girls to be naked,
I want them to throw themselves at me, May they admire me, may they kill me,
May they fight over my vertue.

For the girls from my teenage years, I would become an idol,
I want them every night, out of breath in their bed,
To cheat on their husbands,
In their infatuated dreams.

After that, I will do galas,
My audience will bow before me, before me...
Concerts of 100,000 people,
Where even the Parisian high society is amazed,
And gives a standing ovation for the show to go on.

And in each and every street,
I want them to talk about me,
I want the girls to be naked,
I want them to throw themselves at me,
May they admire me, may they kill me,
May they fight over my vertue.

And when I will have had enough of being their idol,
I will get back on stage just like in the golden years,
I will pretend to cry, and I will say goodbye.

And the following year, I will act just the same,
And the following year, I will act just the same,
I'll prostitute myself for posterity...

Girls in their teenage years
Will say I'm a faggot,
They'll say my eyes sweat of alcohol, and I'd better stop right away,
They'll burn my aureole,
They'll spit on my past.

And then I will be old,
And I could just die,
I'll look for a God that can forgive me for everything,
I want to die miserable, to regret nothing,
I want to die miserable..
.
Thanks to Hmseek on LyricsTranslate.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Clara Luciani - Respire encore - 2021
Pop, Disco, Indie Pop

Album: Cœur (3,38/5)

Wikipédia:
Clara Luciani (French pronunciation: ​[klaʁa lutʃ(j)ani], [lysjani]; Italian: [ˈklaːra luˈtʃaːni]; born 10 July 1992) is a French musician.

Luciani comes from a Corsican family. Her grandfather, whom she did not know, was from Ajaccio. Luciani grew up in Septèmes-les-Vallons, in the suburbs of Marseille. Before her career in music, she studied art history and performed various jobs, including pizza chef, babysitter, sales at Zara, and teaching ESL.

In 2011, she met the band La Femme, where she became, for a time, one of the vocalists. She sang two songs on the album Psycho Tropical Berlin, released in 2013. After leaving the band, she formed the duo Hologram with Maxime Sokolinski.

In 2015–2016, Luciani accompanied singer Raphaël onstage for his Somnambules tour.

In 2017, she performed with Benjamin Biolay and released her first EP, Monstre d'amour, recorded with Benjamin Lebeau (The Shoes) and Ambroise Willaume (Revolver), to critical acclaim.

On 6 April 2018, Luciani released her first studio album, Sainte-Victoire, which was well received by the press. The following winter, she toured Australia, performing at the So Frenchy So Chic festival series in Adelaide, Melbourne, Sydney, and Brisbane. She released a second album, Cœur, in 2021.

Luciani claims Françoise Hardy, Serge Gainsbourg, Nico, Michel Legrand, and Paul McCartney as influences
Ah-ah, ah-ah
Ah-ah, ah-ah
Ah-ah, ah-ah
Ah-ah, ah-ah

Elle respire l'odeur des corps
Qui dansent autour d'elle dans l'obscurité
Ils s'effleurent sans timidité
Une insolence chorégraphiée

Elle veut pas s'asseoir, elle veut s'oublier
Elle veut qu'on la drague, qu'on la regarde et qu'on la fasse tourner
Elle veut pas s'asseoir, ça a trop duré
L'immobilité forcée, ce soir la vie va recommencer

Il faut qu'ça bouge, il faut que ça tremble
Il faut qu'ça transpire encore
Dans le bordel des bars le soir
Débraillés dans le noir
Il faudra réapprendre à boire
Il faudra respirer encore
Il faut qu'ça bouge, il faut que ça tremble
Il faut qu'ça transpire encore
Dans le bordel des bars le soir
Débraillés dans le noir
Il faudra réapprendre à boire
Il faudra respirer encore

Souvent sa nuque frôle le dancefloor
On croit qu'elle flanche mais elle s'en sort
Le rythme de son cœur
S'aligne aux stroboscopes et bat un peu plus fort

Elle veut pas s'asseoir, elle veut s'oublier
Elle veut qu'on la drague, qu'on la regarde et qu'on la fasse tourner
Elle veut pas s'asseoir, ça a trop duré
L'immobilité forcée, ce soir la vie va recommencer

Il faut qu'ça bouge, il faut que ça tremble
Il faut qu'ça transpire encore
Dans le bordel des bars le soir
Débraillés dans le noir
Il faudra réapprendre à boire
Il faudra respirer encore
Il faut qu'ça bouge, il faut qu'ça tremble
Faut qu'ça transpire encore
Dans le bordel des bars le soir
Débraillés dans le noir
Il faudra réapprendre à boire
Il faudra respirer encore

Allez respire encore
Allez respire encore, allez, allez, allez, allez
Allez respire encore, allez, allez, allez
Allez respire encore, allez, allez, allez, allez
Allez respire encore, allez, allez, allez, allez, allez, allez

Oh, il faut qu'ça bouge, il faut qu'ça tremble
Il faut qu'ça transpire encore
Dans le bordel des bars le soir
Débraillés dans le noir
Il faudra réapprendre à boire
Il faudra respirer encore
Il faut qu'ça bouge, il faut qu'ça tremble
Faut qu'ça transpire encore
Dans le bordel des bars le soir
Débraillés dans le noir
Il faudra réapprendre à boire
Il faudra respirer encore

Allez respire encore
Allez respire encore
Ah-ah
Ah-ah-ah-ah
Ah-ah-ah-ah-ah
Ah-ah, ah-ah, ah

Ah-ah, ah-ah
Ah-ah, ah-ah
Ah-ah, ah-ah
Ah-ah, ah-ah

She breathes the smell of bodies
Dancing around her in the dark
They brush against each other without being shy
A choreographed cheekiness

She doesn't want to sit, she wants to forget herself
She wants us to flirt with her, to check her out and spin her around
She doesn't want to sit down, it's been too long
Forced stillness, tonight life will start again

It must move, it must tremble
It must sweat again
In the chaos of the bars, the night
Falls into the dark
We'll need to learn to drink again
We'll need to breathe again
It must move, it must tremble
It must sweat again
In the chaos of the bars, the night
Falls into the dark
We'll need to learn to drink again
We'll need to breathe again

Often her neck brushes the dancefloor
Others believe she'll be defeated but she makes it
The rhythm of her heart
Aligns with stroboscopes and beats a little stronger

She doesn't want to sit, she wants to forget herself
She wants us to flirt with her, to check her out and spin her around
She doesn't want to sit down, it's been too long
Forced stillness, tonight life will start again

It must move, it must tremble
It must sweat again
In the chaos of the bars, the night
Falls into the dark
We'll need to learn to drink again
We'll need to breathe again
It must move, it must tremble
It must sweat again
In the chaos of the bars, the night
Falls into the dark
We'll need to learn to drink again
We'll need to breathe again

Come on breathe again
Come on breathe again, again, again, again, again
Come on breathe again, again, again, again
Come on breathe again, again, again, again, again
Come on breathe again, again, again, again, again, again

Oh, It must move, it must tremble
It must sweat again
In the chaos of the bars, the night
Falls into the dark
We'll need to learn to drink again
We'll need to breathe again
It must move, it must tremble
It must sweat again
In the chaos of the bars, the night
Falls into the dark
We'll need to learn to drink again
We'll need to breathe again

Come on breathe again
Come on breathe again
Ah-ah
Ah-ah-ah-ah
Ah-ah-ah-ah-ah
Ah-ah, ah-ah, ah

Thanks to cagla sozen on LyricsTranslate
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Marie-Flore - QCC - 2019
Chanson, pop,

Album: Braquage (RYM: 3,18/5)

Universal Music:
Marie-Flore looks like no one and no one looks like Marie-Flore. With a cat-like face with a flayed heart, crystalline blue eyes and a timbre like no other, she is one of the rare artists capable of moving from electric folk to urban-tinged pop, each time poetic.


A writer, composer, performer, multi-instrumentalist, handling organic as well as electronic music, Marie-Flore is a lover of pop in all its forms. She is first and foremost a fan of the great classics: The Velvet Underground, whose venomous themes she cultivates, Leonard Cohen, her ultimate reference in terms of poetry, Gainsbourg with his sensual wordplay and Christophe, a benevolent mentor with whom she shares the same high standards - both sonically and textually.

No snobbery, just a respect for songs that grab your guts.

Faut que ça cesse, que tu remballes tes caresses
Je préfère que tu me blesses
T'es d'jà loin du rivage, en sevrage sur la plage
Chez toi j'en mène pas large
Chez toi, sixième étage, j'suis prise d'envie sauvage
De clair-obscur, Caravage
Dans mes yeux c'est l'automatique arrosage

J'ai du billet filigrane avec la face de Reagan
Et si tu veux j'te dépanne
Moi j'connais toutes tes failles, soirée paille en pagaille
C'est pas gai, tu te fais mal
On me raconte que t'as pas d'âme mais moi j'veux être ta femme
Tout mon corps te réclame
Dans mon coeur c'est l'automatique arrosage

Mais si tu veux on parle de nous
Sauf si tu décides qu'on s'en fout
Ouais, moi pour toi j'suis prête à tout
Oui, moi je tente le tout pour le tout
Mais si tu veux on parle de nous (ouais, moi j'aimerais qu'on parle de nous)
Oui, moi pour toi j'suis prête à tout (ouais, moi pour toi j'suis prête à tout)
À te mentir, prétendre que je m'en fous (à te mentir, prétendre que je m'en fous)
Que si tu crèves c'est rien du tout (que si tu crèves c'est rien du tout)
Que si tu crèves c'est rien du tout (oui, si tu crèves c'est rien du tout)

Non à deux c'est pas mieux, dans toute vague y'a un creux
J'ai le ressac au bord des yeux
Qu'est-ce que tu veux? Une médaille? Pour moi t'es qu'un détail
Une pipe de plus que je taille
J'ai pas besoin de dépistage, je sais que c'est toi qui me ravage
Pas moyen que je te partage
Dans ton pieu c'est l'automatique arrosage

Ouais, moi j'aimerais qu'on parle de nous (ouais, moi j'aimerais qu'on parle de nous)
Oui, moi pour toi j'suis prête à tout (ouais, moi pour toi j'suis prête à tout)
À te mentir, prétendre que je m'en fous (à te mentir, prétendre que je m'en fous)
Que si tu crèves c'est rien du tout (que si tu crèves c'est rien du tout)
Que si tu crèves c'est rien du tout (oui, si tu crèves c'est rien du tout)

Mais si tu veux on parle de rien
On reste comme ça, on est bien
Dis-moi juste si on se voit demain
Et si tu veux on parle de nous
Sauf si tu décides qu'on s'en fout
Oui, moi pour toi j'suis prête à tout
Oui, moi je tente le tout pour le tout

Ouais, moi j'aimerais qu'on parle de nous (ouais, moi j'aimerais qu'on parle de nous)
Oui, moi pour toi j'suis prête à tout (ouais, moi pour toi j'suis prête à tout)
À te mentir, prétendre que je m'en fous (à te mentir, prétendre que je m'en fous)
Que si tu crèves c'est rien du tout (que si tu crèves c'est rien du tout)
Que si tu crèves c'est rien du tout (oui, si tu crèves c'est rien du tout)
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Karim Ouellet - Rien ne sert de courir - 2014
Quebec
Singer/Songwriter, Indie Pop

Wikipédia:
Karim Ouellet (December 8, 1984 – January 17, 2022) was a Senegalese-born Canadian pop singer-songwriter. He is noted for winning a Juno Award in 2014 for his album Fox.

Early life
Ouellet was born in Dakar, Senegal, on December 8, 1984. He was adopted by Canadian diplomats at the age of one. He lived in France, Rwanda and Tunisia, before his family returned to live in Quebec City when he was 15. During his childhood, Ouellet learned to play the piano, percussion, and guitar, and he recounted composing his first song when he was seven. He then took up the electric guitar when he was a teenager on the recommendation of his friend, and began playing with local bands. Around 2005, he became acquainted with Claude Bégin, who later co-wrote the lyrics and music for Ouellet's first three albums.

Career
Ouellet released his debut album, Plume, in 2011, and was the second-place finisher in that year's Francouvertes competition. He has toured extensively, including appearances at the Francofolies de La Rochelle, Osheaga, and SXSW festivals.

Ouellet followed up with Fox in November 2012. He garnered three nominations at the Félix Awards in 2013, including Best Male Singer, Best Single for "L'Amour" and Pop Album of the Year.[10] He was also designated as best new artist by Radio-Canada that year. Fox won the Juno Award for Francophone Album of the Year at the Juno Awards of 2014.

While Ouellet's own music follows a folk-pop style with some reggae and African music influences, he was also a frequent collaborator with several hip hop groups, including CEA and Movèzerbe.

Ouellet's third album, Trente, was released in March 2016. He followed up later the same year with Aikido, a downloadable free mini-album.

Personal life
Ouellet's sister, Sarahmée, is also a musician. He served as the French language spokesman for Black History Month in Canada in 2018.

Ouellet was found dead on the evening of January 17, 2022, at L'Unisson studio in Quebec City's Saint-Roch neighbourhood. He was 37; the cause of death is currently being investigated by the municipal coroner’s office. He was reportedly writing his fourth album at the time.

Les yeux remplis de pluie
Les mains en feuilles mortes
L'estomac noué, j'ai mal à la tête encore
Laisse pas le diable cogner à ta porte
Fais-moi croire quelque chose
Il est pas trop tard, j'ai tout le temps de mon bord
Ferme la fenêtre, y a trop de courants d'air

Rien ne sert de courir, tant pis baby je ne suis plus le même
On peut danser à s'étourdir, pour tout dire
Entre nous je ne sais pas dire je t'aime
Rien ne sert de courir, tant pis baby je ne suis plus le même
On peut danser à s'étourdir, ou mourir
Entre nous je ne sais pas dire je t'aime
Une goutte d'eau dans l'océan
Un coup d'épée dans l'air
L'ouragan passe et qu'est-ce qu'on va bien faire?
Quelques gouttes d'eau dans la rivière

Rien ne sert de courir, tant pis baby je ne suis plus le même
On peut danser à s'étourdir, pour tout dire
Entre nous je ne sais pas dire je t'aime
Rien ne sert de courir, tant pis baby je ne suis plus le même
On peut danser à s'étourdir, ou mourir
Entre nous je ne sais pas dire je t'aime
Fais-moi croire quelque chose
Il est pas trop tard, j'ai tout le temps de mon bord
Entre nous je ne sais pas dire je t'aime
Ferme la fenêtre y a trop de courants d'air

Rien ne sert de courir, tant pis baby je ne suis plus le même
On peut danser à s'étourdir, pour tout dire
Entre nous je ne sais pas dire je t'aime
Tant pis baby je ne suis plus le même
Tout dire, ou mourir
Entre nous je ne sais pas dire je t'aime


Eyes filled with rain
My hands in the shape of dead leaves
A knot in my stomach, my head still hurts
Don't let the devil knock at your door.
Make me believe something.
It's not too late, I've got plenty of time on my side1.
Close the window, there are too many draughts.

More haste, less speed, baby. Too bad if I'm no longer the same.
We can dance ourselves silly, to be honest,
between us, I don't know how to say 'I love you'.
More haste, less speed, baby. Too bad if I'm no longer the same.
We can dance ourselves silly, to be honest,
between us, I don't know how to say 'I love you'.
A drop of water in the ocean
Faliling at the air2
The storm passes, and what can we possibly do?
A few drops of water in the river.

More haste, less speed, baby. Too bad if I'm no longer the same.
We can dance ourselves silly, to be honest,
between us, I don't know how to say 'I love you'.
More haste, less speed, baby. Too bad if I'm no longer the same.
We can dance ourselves silly, to be honest,
between us, I don't know how to say 'I love you'.
Make me believe something.
It's not too late, I've got plenty of time on my side.
Close the window, there are too many draughts.

More haste, less speed, baby. Too bad if I'm no longer the same.
We can dance ourselves silly, to be honest,
between us, I don't know how to say 'I love you'.
Too bad baby, I'm no longer the same.
Either say everything or die.
Between us, I don't know how to say 'I love you'.

1."de mon bord" is probably Canadian French.
2.the usual expression is "un coup d'épée dans l'eau" (a sword stroke in the water). He changed water for air, for some reason.
Thanks to LyricsTranslate.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Patrice et Mario - Vénus - 1958
Chanson

Wikipédia:
Patrice and Mario are French duettists. Patrice (Patrizzio Paganessi, 1916-26 April 1992) and Mario (Mario Moro, 1918-9 August 2002) were very popular singers during the 1940s-1950s.

Biography
Patrice and Mario met in 1938 during an amateur singing contest. Their real debut in the song takes place in December 1945, at the A.B.C., in a show in which Maurice Chevalier is the star.

After recording more than 200 songs (Étoile des neiges, Montagnes d'Italie, Les Trois Cloches, Gondolier, La Paloma, Jambalaya (On the Bayou), Les Enfants du Pirée, etc.), they stopped performing in the 1960s, when the yé-yé song triumphed.

O Vénus, O Vénus

Vénus mon amie, étoile de la nuit, je vous en prie,
Envoyez-moi l'amour dont j'ai rêvé, il est temps de venir m'aider,
Voyez sur mon lit, il n'y a jamais eu qu'un oreiller
Et dans la triste chambre où je m'ennuie
J'aimerais bien le partager

Voyez j'ai laissé ma porte ouverte
Et ma vie est offerte, A celle qui voudra

Qui voudra de moi ?
Pour lui faire un collier de mes bras
Et l'emmener le soir vous dire bonsoir
Bonsoir et puis aussi merci

Vénus mon amie, étoile de la nuit, je vous en prie,
Envoyez-moi l'amour dont j'ai rêvé, il est temps de venir m'aider,
Mettez dans ses yeux, ce que mes yeux ont rêvé d'y trouver
L'azur profond de l'infini des cieux
Et la douceur d'un mois de mai

Alors du plus profond de mon être, en la voyant paraître,
Je la reconnaîtrai

Et du haut du ciel, à l'heure où vous remplacez le soleil
Nous irons tous les deux vous dire bonsoir
Bonsoir et puis aussi merci
O Vénus, O Vénus, Bonsoir et merci

Oh Venus, oh Venus

Venus, my friend, star in the night, I beg you
Send me the love I've been dreaming of, it is time to come help me
Look on my bed, there has always only been one pillow
And, in the sad bedroom where I am bored
I would like to share it

Look, I have left my door open
And my life is offered to whoever will want it

Who will want me?
To make a necklace out of my arms
And bring her at night tell you "goodnight"
"Goodnight", and also "thank you"

Venus, my friend, star in the night, I beg you
Send me the love I've been dreaming of, it is time to come help me,
Place, in her eyes, what my eyes have dreamed of finding
The deep azur of the skies' infinite
And the gentleness of May

Then, from the depths of my own being, when I see her appear
I will recognize her

And, from the sky, at the hour when you will take the sun's place
We will both go tell you "goodnight"
"Goodnight", and also "thank you"
Oh Venus, oh Venus, goodnight and thank you
Last edited by Romain on Sat Jan 22, 2022 2:51 pm, edited 1 time in total.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

K.Maro - Femme Like U (Donne-moi ton corps) - 2004
Rap, Hip-hop

Album: La good Life (RYM: 1,57/5)


Wikipédia
Cyril Kamar (Arabic: سيريل قمر; born January 31, 1980, in Beirut), known by his stage name K.Maro (/keɪ ˈmɑːroʊ/; sometimes stylized as K-Maro or K'Maro) is a Canadian pop singer-songwriter, producer and businessman of Lebanese origin. He sings in French and English. He is also the founder, the owner, and the CEO of East 47th Music, a record label, and Rock&Cherries Agency, a Paris-based Talents management agency. Both East 47th Music and Rock&Cherries Agency are part of KEG company (Kamar Entertainment Group).

Cyril Kamar is a francophone and anglophone singer, producer and businessman living between Paris, France and New York City. He was born in Beirut, Lebanon on January 31, 1980. After the end of the war, he moved with his family to Montreal, Quebec, in 1991.
K.Maro first broke through to the Quebec charts with his group LMDS, an abbreviation for "Les Messagers du Son". This was a French language hip hop duo in Montreal, Quebec, Canada formed in 1993 and made up of Cyril Kamar, called Lyrik, and Adil Takhssait, called Mélo in the duo.

The band achieved great success in Quebec and launched two successful albums, Les Messagers du Son in 1997 and Il Faudrait Leur Dire in 1999. LMDS broke up in 2001. Both artists continued their musical careers, Cyril Kamar (Lyrik) as K.Maro and Adil Takhssait (Mélo) as Vaï.

After the breakup of LMDS, Cyril Kamar became successful as a solo artist, taking the name K.Maro (alternatives K'Maro and K-Maro). As a hip hop and R&B singer-songwriter and producer, he became an instant international success particularly with his first major hit, "Femme Like U" in 2004, from the album La Good Life. "Femme Like U" was number-one single in 17 countries and Platinum certified, more than two million copies of the song were sold and more than a million copies of La Good Life album were sold.

In 2005, K.Maro released his third album Million Dollar Boy. Subject to commercial success, the album became certified Platinum.

To celebrate his decade-long music career, K.Maro released in 2006, Platinum Remixes album.

K.Maro released his four album in 2008, Perfect Stranger, his first all-English album.

His songs are frequently a mix of French and English lyrics, and sometimes Arabic.

Song:
"Femme Like U (Donne-moi ton corps)" more commonly known as "Femme Like U" is a 2004 song recorded by Canadian artist Cyril Kamar, better known under the name of K.Maro. The song was released as the first single from his album La Good Life, on June 18, 2004. It achieved a huge success in many countries in Europe, including France, Belgium and Switzerland, where it topped their charts, being thus one of the summer hits. As of August 2014, the song was the 14th best-selling single of the 21st century in France, with 633,000 units sold.
This debut single is generally considered as K. Maro's signature song, although he has had other hits in Europe, such as "Crazy" or "Sous l'œil de l'ange", but which were less successful than "Femme Like U (Donne-moi ton corps)". The song is known under its short title, "Femme Like U", but the complete title is "Femme Like U (Donne-moi ton corps)", as it features in small letters on the single cover.

Oooh
Yes
Oooh
Je m'appelle K-Maro
Hey Martinez,
You're ready girl?

Come on, let's do this gangsta

REFRAIN:
Donne moi ton coeur baby, ton corps baby hey
Donne moi ton bon vieux funk,
Ton rock baby, ta soul baby hey
Chante avec moi, je veux une femme like you
Pour m'emmener au bout du monde
Une femme like you, Hey hey
Donne moi ton coeur baby, ton corps baby hey
Donne moi ton bon vieux funk,
Ton rock baby, ta soul baby hey
Chante avec moi, je veux un homme like you
Bad boy tu sais que tu me plais,
Un homme like you, hey hey

VERSE 1:
Quand tu chantes, j'oublie, j'ai plus le moindre soucis
J'ai le mal qui fuit, tu donnes un son à ma vie
Et puis j'sais pas ce qui se passe
Tu as ce regard dans la face
Qui me ramène à la case départ là où j'suis parti,
Me ramène à la soirée du bar quand on est sortis
Et c'est cette même complicité qui s'installe,
Quand on est sur la scène et l'on brille sous la même étoile
Quand ta voix croise la mienne
Que j'ai ta soul dans mes veines
Que mon vibe coule dans les tiennes
Femme tu es belle mais quand tu chantes tu es sexy,
Flash sur elle, c'est ma Rock star baby

REFRAIN:
Donne moi ton coeur baby, ton corps baby hey
Donne moi ton bon vieux funk
Ton rock baby, ta soul baby hey
Chante avec moi, je veux une femme like you
Pour m'emmener au bout du monde
Une femme like you, hey hey
Donne moi ton coeur baby, ton corps baby hey
Donne moi ton bon vieux funk
Ton rock baby, ta soul baby hey
Chante avec moi je veux un homme like you
Bad boy tu sais que tu me plais
Un homme like you, hey hey

VERSE 2:
Complice on leur donne un bon son live
Soul mates, a la Diddy et Mary J Blidge
Glamourous, ton style et ton charme
Tu es Fabulous, un délice pour un mec à dames
Hum baby baby, si tu savais comme je te ** baby baby
Crois moi que l'atmosphère est parfaite
Et plus tu chantes, plus je glisse sur la pente et je perds la tête
Deux vies, deux voix qui se rencontrent
Deux histoires qui se racontent
Une chanson pour le dire
Il y a les mots, les images pour le décrire
Une belle rencontre à l'ancienne
Prends un flash, il y a de la magie sur scène,
Le rideau tombe et c'est terminé
Une belle collabo, des mots sur une feuille, pour s'en rappeler

REFRAIN:
Donne moi ton coeur baby, ton corps baby hey
Donne moi ton bon vieux funk
Ton rock baby, ta soul baby hey
Chante avec moi, je veux une femme like you
Pour m'emmener au bout du monde
Une femme like you, hey hey
Donne moi ton coeur baby, ton corps baby hey
Donne moi ton bon vieux funk
Ton rock baby, ta soul baby hey
Chante avec moi je veux un homme like you
Bad boy tu sais que tu me plais
Un homme like you, hey hey

BRIDGE:
Donne moi ton coeur
Donne moi ton corps
Donne moi ta soul
Ton rock & roll
Je veux une femme like you
Un homme like you

REFRAIN:
Donne moi ton coeur baby, ton corps baby hey
Donne moi ton bon vieux funk
Ton rock baby, ta soul baby hey
Chante avec moi, je veux une femme like you
Pour m'emmener au bout du monde
Une femme like you, hey hey
Donne moi ton coeur baby, ton corps baby hey
Donne moi ton bon vieux funk
Ton rock baby, ta soul baby hey
Chante avec i je veux un homme like you
Bad boy tu sais que tu me plais
Un homme like you, hey hey

Oooh
yes
oooh
My name's K-Maro
Hey Martinez,
You're ready girl?

Come on, let's do this gangsta

CHORUS:
Give me your heart baby, your body baby hey
Give me your good old funk,
Your rock baby, your soul baby hey
Sing with me, I want a woman like you
To take me to the extreme point of the world
A woman like you, Hey hey
Give me your heart baby, your body baby hey
Give me your good old funk,
Your rock baby, your soul baby hey
Sing with me, I want a man like you
Bad boy you know that I like you,
A man like you, hey hey

VERSE 1

When you sing, I forget, I've got the least care
(When you sing, I forget, I don't worry anymore
I've got the pain which escapes, you give the sound to my life
Well I don't know what's going on
And then, I dunno what's happening)
You've got this look in the face
You bring me to the hut departure where I left from
That takes me back to the square one
You take me to the party of the bar when we're leavinh
Takes me back to the party at the bar where we went out)
And this is this same complicity which is set,
And it's this same complicity that sets in
When we're on the stage and we shine under the same star
When your voice crosses mine
That I've got your soul in my veins
That my vibe? flows in yours
Woman you're beautiful but when you sing you are sexy,
Woman! you're beautiful, but when you sing, your sexy
Flash on her, it's my Rock star baby
Fall for her, she's my rockstar baby

CHORUS:
Give me your heart baby, your body baby hey
Give me your good old funk,
Your rock baby, your soul baby hey
Sing with me, I want a woman like you
To take me to the extreme point of the world
A woman like you, Hey hey
Give me your heart baby, your body baby hey
Give me your good old funk,
Your rock baby, your soul baby hey
Sing with me, I want a man like you
Bad boy you know that I like you,
A man like you, hey hey

VERSE 2

Complice we give them a good sound live
Accomplices, there are given a good live sound
Soul mates, like Diddy and Mary J Blidge
Soulmates like DIddy and Mary J Blidge
Glamourous, your style and your charm
Glamourous, you style and your charm
You are Fabulous, a delight for a man of ladies
You are fabulous, a delight for a woman lover
Hum baby baby, if you know the way I **you baby baby
Hum baby, If only you knew how I** you baby
Trust me that the atmosphere is perfect
And the more you sing, the more I slip on the slope and I lose myself
Two lives, two voices which meet
Two histories that are told
A song to tell it
There are the words, the images to describe it
A beautiful meeting like before
Take a flash, there the magic on the stage,
(take a flash(?) it's a kind of magic on the stage
The curtains fall and it's over
A pretty collabo, the words on a sheet, to remind one's lines

CHORUS:
Give me your heart baby, your body baby hey
Give me your good old funk,
Your rock baby, your soul baby hey
Sing with me, I want a woman like you
To take me to the extreme point of the world
A woman like you, Hey hey
Give me your heart baby, your body baby hey
Give me your good old funk,
Your rock baby, your soul baby hey
Sing with me, I want a man like you
Bad boy you know that I like you,
A man like you, hey hey

BRIDGE

Give me your heart
Give me your body
Give me your soul
Your rock & roll
I want a woman like you
A man like you

CHORUS:
Give me your heart baby, your body baby hey
Give me your good old funk,
Your rock baby, your soul baby hey
Sing with me, I want a woman like you
To take me to the extreme point of the world
A woman like you, Hey hey
Give me your heart baby, your body baby hey
Give me your good old funk,
Your rock baby, your soul baby hey
Sing with me, I want a man like you
Bad boy you know that I like you,
A man like you, hey hey
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Mike Brant - Laisse-moi t'aimer - 1970
Chanson, The favorite of all French grannys.

Album: Mike Brant

Wikipédia:
Mike Brant (born Moshe Michael Brand, Hebrew: משה מיכאל ברנד, 1 February 1947[1] – 25 April 1975) was an Israeli singer and songwriter who achieved fame after moving to France. His most successful hit was "Laisse-moi t'aimer" ("Let Me Love You"). Brant committed suicide at the height of his career by jumping from a window of an apartment in Paris. He was known for his vocal range going from baritone to high tenor and also a very high and powerful falsetto.

Mike Brant's Jewish parents were from Poland. His mother, Bronia Rosenberg, originally from Łódź, was a survivor of the Auschwitz concentration camp. His father, Fishel Brand, from Biłgoraj, had been a resistance fighter during World War II, and was 20 years his wife's senior. His parents married following the war, and they applied to emigrate to Israel, but were initially denied permission. They attempted to reach Israel by sea on an Aliyah Bet ship which was intercepted by the British, and were sent to a British internment camp for illegal Jewish immigrants who had attempted to enter israel at Famagusta, Cyprus. Mike was born in Cyprus on 1 February 1947. In September 1947, eight months before Israeli independence, the family arrived in Israel after being included in a British quota for Jewish immigration. They initially settled in kibbutz Gvat but soon moved to Haifa, where Mike grew up. In 1950, his younger brother Zvi was born. Mike Brant did not start speaking until six years of age. During his childhood, he loved to sing and dreamed of being a famous musician. Some of his early musical exposure came while attending synagogue, where he was exposed to music through prayers and religious hymns. He told his family and friends that when he grew up he'd be "a star... or a tramp!" He joined his school's choir at age 11, becoming the only boy to do so. He did not integrate well in school, and at age 13 moved to kibbutz Gesher as a boarder, where he studied and worked in agriculture for two years before returning to his family home in Haifa, claiming that life on the kibbutz did not suit him. He subsequently worked in a variety of casual jobs, including as a guard at the Clandestine Immigration and Naval Museum. He also took drama lessons at the Haifa Theater.

When he was 17, Moshe Brand joined his brother's band, "The Chocolates", as lead singer. The band performed at parties and cafés in Haifa and Tel Aviv, and moved on to nightclubs in hotels. At age 18, he was not drafted into the Israel Defense Forces for the usual three-year period of military service expected of most Israeli Jewish men after having been granted a medical exemption due to having undergone surgery for a stomach ulcer at age 15. He had hoped to serve as a singer in a military ensemble. He carried on his musical career, and sang in English and French despite knowing only Hebrew. In 1965, he changed his name from Moshe to Mike because it sounded more international. At age 19, he was discovered by the Israeli impresario Yonatan Karmon and left The Chocolates to join Karmon's dance troupe. He toured internationally with Karmon's troupe, participating in shows in the United States, South Africa, and Australia, performing as Michael Sela. His repertoire included Israeli and French songs as well as some American songs, especially by Frank Sinatra. He also gave performances mimicking Charlie Chaplin and Laurel and Hardy. After two years, he left Karmon's troupe and returned to Israel. He performed as a solo artist at the Tel Aviv Hilton and gave shows abroad.

In May 1969, Brant performed at the Baccara Club at the Hilton Hotel in Tehran, Iran. A young French singer, Sylvie Vartan, also on the bill, was impressed and urged him to come to Paris. Brant arrived on 9 July 1969. It took ten days to find Vartan but eventually she introduced him to the producer Jean Renard, who had turned Johnny Hallyday into a star. Under Renard's guidance, he changed his surname from Brand to Brant, and recorded his biggest hit, "Laisse-moi t'aimer" ("Let Me Love You"). The song was a success at the Midem music festival in January 1970. "Laisse-moi t'aimer" sold 50,000 copies in two weeks.

Brant represented France in a radio contest broadcast all over Europe and in Israel. His song, sponsored by Radio Luxembourg, was "Mais dans la lumière" ("But in the Light"). He won. He continued to release hits: "Qui saura" ("Who Knows"), "L'amour c'est ça, l'amour c'est toi" (written by Paul Korda/Robert Talar), "C’est ma prière" ("That's My Prayer"), "Un grand bonheur" ("A Great Joy") and "Parce que je t'aime plus que moi" ("Because I Love You More Than Myself"). His first album, "Disque d'Or" ("Gold Record") sold millions. Brant took a song written and composed by his friend Mike Tchaban/Tashban "Why do I love you? Why do I need you?" but French radio stations would not air it because it was in English. Brant returned to Israel soon afterward.

In February 1971, Brant was seriously injured in a traffic accident, sustaining serious skull fractures and undergoing a long recovery period. The accident received media attention. That year, he gave concerts in Israel, and performed a new song Erev Tov (Good Evening), written together with Nachum Heiman and some collaboration with Moshe/Michael Tchaban's melodic subject of some musical composition. During his concert tour in Israel, he was accompanied by Israeli singer Yaffa Yarkoni. During the Yom Kippur War in 1973, he performed for front-line Israeli soldiers.

By 1973, he was giving 250 concerts a year, some attended by 6,000–10,000 people. This went on for two years. He suffered from depression and loneliness, and from the Second Generation Syndrome (family history of the Holocaust), and would alternate, sometimes enjoying life and at other times slipping back into depression. On 22 November 1974, he attempted suicide, jumping out the window of his manager's hotel room in Geneva. He suffered fractures but survived. He cut the number of performances and concentrated on another album, Dis-lui ("Tell Her", French version of "Feeling"). In January 1975, he released two singles, "Qui pourra lui dire" and "Elle a gardé ses yeux d'enfant" (written by Richard Seff and Michel Jourdan).

On 25 April 1975, the day his new album was released, Brant leapt to his death from an apartment located at rue Erlanger in Paris. He was 28.

Mike Brant was buried in Haifa

In popular culture
Mike Brant has been sampled by rapper Havoc of the group Mobb Deep, for his track "Live It Up". It was sampled also by RZA of Wu-Tang Clan. Rapper Eminem sampled Brant's song "Mais dans la lumière" ("But in the Light") in his track "Crack a Bottle" released by him, Dr. Dre and 50 Cent.
Laisse-moi t'aimer toute une nuit
Laisse-moi toute une nuit2
Faire avec toi
Le plus long, le plus beau voyage
Veux-tu le faire aussi?

Une hirondelle fait mon printemps
Quand je te vois
Mon ciel devient plus grand
Je prends ta main
Alors je sens que j'ai pour toi
L'amour au bout des doigts

La feuille qui grandit a besoin de lumière
Et le poisson meurt sans l'eau de la rivière
Aussi vrai que nos corps sont nés de la poussière
Toi tu es mon soleil et mon eau vive

Laisse-moi t'aimer
Rien qu'une nuit
Laisse moi, rien qu'une nuit
Voir dans tes yeux
Le plus merveilleux paysage
Oh oui si tu le veux

Laisse-moi t'aimer
Laisse-moi t'aimer, toute ma vie
Laisse-moi, laisse-moi t'aimer
Faire avec toi le plus grand de tous les voyages
Laisse-moi, laisse-moi t'aimer, t'aimer.

Let me love you all night long
Let me, all night long,
Go on the longest
And most beautiful journey with you
Will you go on this journey with me?

One swallow does my summer make
When I see you
My sky gets broader
I take your hand
Then I feel
My love for you at the end my fingers

The growing leaf needs some light
And the fish dies out of ther river waters
As true as our bodies were born out of dust
You are my sun and my running water

Let me love you
Just for one night
Let me, just one night,
See in your eyes
The most beautiful lanscape
Oh yes, if you want to

Let me love you
Let me love you all my life
Let me, let me love you
Go on the greatest of all journeys
Let me, let me love you, love you.

Thanks to purplelunacy on lyricsTranslate.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Gérard Manset - Animal, on est mal - 1968
Chanson, Singer/Songwriter, Art Pop, Chanson à texte, Art Rock, Baroque Pop

Album: Gérard Manset (RYM: 3,73/5)

Artist Biography (Allmusic)by Jason Ankeny

The self-styled mystery man of contemporary French pop, singer/songwriter Gérard Manset spent his career in the margins of the mainstream, steadfastly avoiding the press interviews, live performances, and promotional commitments so vital to commercial success. His uncompromisingly stark and intimate music nevertheless captured a rabid cult following, and despite (or perhaps because of) his extended retreats from the musical landscape, each new Manset record was celebrated as an event by listeners and critics alike.

Manset was born in the Paris suburb of Saint Cloud on August 21, 1945. The son of affluent parents, he grew up in the city's 16ème arrondissement, and later studied at the Ecole des Arts Déco. While in art school he discovered rock & roll, teaching himself guitar and writing his first original songs. In early 1968, Manset self-financed the sessions for what would become his full-length debut album, Animal on N'Est Mal, and while Pathé Marconi agreed to manufacture and distribute the release, the student revolts that followed in May guaranteed the record little attention, and it sold only a few hundred copies.

Manset's music nevertheless piqued the curiosity of a few adventurous Paris radio programmers, and his burgeoning cult following was enough to convince Pathé to record a second LP, a self-titled effort issued in late 1968. The potent mysticism and melancholy of songs like "Je Suis Dieu" and "On Ne Tue Pas Son Prochain" captivated critics, and set the stage for his 1970 follow-up, La Mort d'Orion, a symphonic concept album that was the first Manset project to generate sales commensurate with its media acclaim.

But Manset refused to capitalize on the attention heaped upon La Mort d'Orion, instead retreating into seclusion and building his own recording facility, Le Studio Milan. After a series of freelance production and engineering gigs, he finally resumed his own recording career, issuing Long Long Chemin in 1972. The singles "Jeanne" and "L'Oiseau du Paradis" proved minor hits, but a three-year hiatus preceded the release of his next LP, Y'a une Route. The album nevertheless was a chart smash, selling in excess of 300,000 copies and vaulting Manset to national fame -- he recoiled in horror at the attendant media attention, however, and in 1976 issued Rien à Raconter (Nothing to Say), a trenchant declaration that his music alone would serve to voice his opinions and beliefs. The 1978 release 2870 further distanced Manset from mainstream consideration, exchanging his lush, folk-inspired melancholia for a darker, more imposing electronic sound.

Still, despite his aversion to interviews and tours, he retained a devoted fan following, and even after announcing an extended hiatus from music to travel Asia and Latin America, his 1981 comeback effort, Le Train du Soir, was greeted with the usual listener and critical interest. With 1984's Lumières, Manset stripped his music to its absolute essentials, creating the most austere music of his career to date. Its 1985 follow-up, Prisonnier de l'Inutile, was no less severe, and heralded the end of the second phase of his career. Manset spent the next several years nurturing his long-dormant interest in the visual arts, mounting exhibitions of his paintings and photographs. In the spring of 1987, he changed course yet again, publishing his first novel, Royaume de Siam.

After remastering his back catalog for digital reissue, in 1989 Manset finally released a new LP, Matrice -- a dystopic, rock-inspired opus widely considered his finest record to date, it was also his best-selling effort since Y'a une Route. Revivre, a comparatively upbeat album inspired by his journeys to the tropics, followed just a year later, but failed to match the success of its predecessor. Manset responded by once again retreating from music for several years, in 1993 publishing his second novel, Wisut Kasat. His 1994 LP, La Vallée de la Paix, proved the most optimistic record of his career, a creative rebirth that coincided with a new generation of French acts celebrating Manset's massive influence via Route Manset, a tribute compilation featuring contributions by Jean-Louis Murat, Salif Keita, and Cheb Mami.

Manset did not release his next album, Jadis et Naguère, until late 1998 -- a return to the bleak world-view of previous efforts, its arrival was trumpeted by a handful of print interviews, during which he maintained his distaste for touring, proclaiming "I find it immodest and totally ridiculous performing my songs in front of a live audience." Manset spent the next several years as a composer for hire, penning material for Juliette Gréco, Indochine, and Raphael. Six long years in the making, his next solo release, Le Langage Oublié, finally hit retail in 2004, but its follow-up, Obok, trailed just two years later, introducing a new lyrical perspective steeped in realism and character studies. The album's release served notice of other changes as well: in interviews, Manset admitted that he was seriously considering a brief tour, resulting in frenzied media speculation. Ultimately, the rumored tour never materialized, but Manset did record another whole new album, relatively quickly, by his standards. Manitoba Ne Répond Plus arrived in 2008, but there was to be no more new music for some years, as the enigmatic artist returned to writing prolifically, publishing several novels and travelogues which kept him busy into the next decade. He also contributed lyrics to a large number of albums by other artists, including Gwennyn, Julien Clerc, and Axel Bauer.
Animal, on est mal
On a le dos couvert d'écailles
On sent la paille
Dans la faille
Et quand on ouvre la porte
Un armée de cloportes
Vous repousse en criant
"Ici, pas de serpent !"

Animal, on est mal.
Animal, on est mal.

Animal, on est mal.
On a deux cornes placées
Sur le devant du nez
On s'abaisse
On s'affaisse
On a la queue qui frise
On a la peau épaisse
On a la peau grise
Et quand on veut sortir
Avec une demoiselle
On l'invite à dîner
Quand elle vous voit
Que dit-elle ?
"Il ne vous manque qu'une bosse.
Vade retro, rhinocéros !"

Animal, on est mal
Animal, on est mal

Animal, on est mal
On assiste à l'opération de la girafe
La voilà qui se retrouve le cou plein d'agrafes
Elle appelle au secours
On veut lui mettre un pantalon
Mais il est trop court
Animal, on est mal
On pond ses oeufs dans le sable
Et quand on passe à table
Les chevaux-vapeurs
Ont pris peur
De se retrouver loin de leur étable

Animal, on est mal
Animal, on est mal

Animal, on est mal
Et si l'on ne se conduit pas bien
On revivra peut-être dans un peau d'un humain
Animal, on est mal
Animal, on est mal
Et Dieu reconnaîtra les siens...

Animals, we feel bad
Our back is lined with scales
We smell of straw3
In the fault
And when the door opens
A troup of woodlice
Repels us, shouting
"No snakes here!"

Animals, we feel bad
Animals, we feel bad

Animals, we feel bad
We have got two horns
On top of our nose
We drop down
We collapse
Our tail is curly
Our skin is thick
Our skin is greyish
And when you want to go out
With a young lady
You take her to dinner
When she sees you
What does she say?
"All you need is a hump
Vade retro, rhino!"

Animals, we feel bad
Animals, we feel bad

Animals, we feel bad
You see the giraffe having an operation
Now her neck is lined with clips
She calls for help
They want to put pants on her
But they are too short
Animals, we feel bad
We lay eggs in the sand
And when we sit down to eat
The horsepowers
Got scared
To be taken far from their stable

Animals, we feel bad
Animals, we feel bad

Animals, we feel bad
And if we don't behave
Perhaps we shall live again as humans
Animals, we feel bad
Animals, we feel bad
And God will know his own...
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Gérard Palaprat - Pour la fin du monde - 1971
Folk pop

Single

Wikipédia (DeepL translate)
Gérard Palaprat is a French singer-songwriter, born on June 12, 1950 in Paris and died on September 25, 2017 in Beauvoir-sur-Niort.

Gérard Palaprat was born on June 12, 1950 at the Musée du Luxembourg in Paris, opposite the rue Férou, in the gardens of the Senate Presidency. He lived there until the age of 20. At the age of 12, he entered the Ecole du Spectacle. There he continued his violin studies, which he had started at the age of 7, as well as dance, drama and singing. At the age of 12, he recorded a vinyl record for Father's Day, which opened the doors to the Petit Conservatoire de la chanson de Mireille. In the summer, he sang his own compositions in the Hauts-de-Cagnes.

He worked for the ORTF as an extra and then in the theater. A film role in Trans-Europ-Express by Alain Robbe-Grillet and then for television: Le Grand Voyage by Jean Prat. First musical at the La Bruyère theater in Les Fantastiks by Tom Jones. Édouard Molinaro engages him in Hibernatus but his role will be removed for two days of absence due to the review board. He was not even credited in the credits of the film. He enters the theater of the Porte-Saint-Martin in the musical Hair which runs for three years. He wins the friendship of Lucien Morisse, director of AZ records and Europe 1.

He obtains the Golden Rose of Juan-les-Pins with Fais-moi un signe (Lyrics: Jean-Pierre Lang, music: Patrick Lemaître), and continues his success with Pour la fin du monde, Svasti, Le Bateau de cristal, Écoute la source du bonheur, Lady, ce n'est qu'un rêve, etc. At the same time, he joined Ram Shandra Mistri, his sitar master, in India. He sings in the rock opera Moïse by Michel Quereuil and Guy Alcalay under the direction of Francis Morane.

In September 2010, he is on the stage of the Théâtre du Gymnase, in Paris, for the show "HIT-PARADE", alongside Renaud Siry, who is the creator, Danièle Gilbert and several other artists, who sing the hits of the 70's, 80's, 90's and 2000's, against a background of projections on a large screen.

In 2010, Gerard Palaprat is part of the tour Âge tendre et Têtes de bois season 5, alongside Michèle Torr, Sheila, Georgette Lemaire, Allain Turban ...

Stricken with throat cancer, he died at his home in Beauvoir-sur-Niort3 on September 25, 20174. He was cremated in Niort on October 3, 2017.


Pour la fin du monde
Prends ta valise
Et va là-haut sur la montagne
On t’attend4

Mais dans ta valise
Une simple chemise
Pour la fin du monde
Pas de vêtements

Et mes photographies ?
Laisse-les là
Et ma boîte à outils ?
Laisse-la aussi
Mon vieux tant pis
Mais...

Pour la fin du monde
Prends ta valise
Et va là-haut sur la montagne
On t’attend

Laisse tes bijoux
Tes machines à sous
Pour la fin du monde
Pas besoin d’argent !

Mon avion, mon képi ?
Laisse-les là
Ma canne et mon fusil ?
Laisse-les aussi
Mon vieux tant pis
Mais...

Pour la fin du monde
Prends ta valise
Et va là-haut sur la montagne
On t’attend

N’aie plus peur de rien
Tout ira très bien
Pour la fin du monde
Viens tout simplement
Viens donc, il est temps

Viens voir enfin l’autre côté
De la montagne
Viens voir enfin l’autre côté
On va repartir à zéro

Pour la fin du monde
Prends ta valise
Et va là-haut sur la montagne
On t’attend

Mais dans ta valise
Une simple chemise
Pour la fin du monde
Pas de vêtements

Et mes photographies ?
Laisse-les là
Et ma boîte à outils ?
Laisse-la aussi
Mon vieux tant pis
Mais...

Pour la fin du monde
Prends ta valise
Et va là-haut sur la montagne
On t’attend

N’aie plus peur de rien
Tout ira très bien
Pour la fin du monde
Viens tout simplement
Viens donc, il est temps

Viens voir enfin l’autre côté
De la montagne
Viens voir enfin l’autre côté
On va repartir à zéro
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Félix Gray - La gitane - 1987
Chanson, Pop

Wikipédia:
Félix Boutboul, most known under the pseudonym of Félix Gray (born 28 June 1958, Tunis), is a French singer and songwriter.
Born in a Jewish family, Felix Gray is known in 1988 with the song La Gitane which reaches the 3rd place of the Top 50. At the beginning of the Nineties, it also meets a great success with the songs which it interprets in duet with Didier Barbelivien of 1990 to 1992: To all the girls and It is necessary to leave the time with time are classified number 1 with the Top 50. The following titles, E vado via and Nos amours cassées, also obtain very good scores.

Felix Gray wrote many songs: Les Envies d'amour for Adeline Blondieau, in 1991, Should I Leave for David Charvet, in 1997, or for Patrick Bruel in 1999 with the song Au café des délices, and Pas eu le temps in 2018.

He is the author of the musical Don Juan in 2004, which was a great success in Canada and was performed in France in 2005 but also in other countries such as South Korea. He also created a musical about Scheherazade: The Thousand and One Nights in 2009, presented in December 2011 in France.

Comme un artiste en enfer
Comme un enfant qui se perd
J'étais comme ça devant elle
Elle était tellement belle

Elle était tellement pour moi
Que je ne sais même pas
Si j'ai vu trembler mes doigts
Quand elle était là !

Prêt à oublier ma peine
Prêt à me couper les veines
Prêt à refaire la vie
Prêt à refaire ma vie

Prêt à tuer les démons
Qui m'empêchent de la revoir
Et prêt à crier son nom
Toute ma vie dans le noir

Ma tête tourne, ma tête frappe
À coups de tambours qui éclatent
Un fou qui fait n'importe quoi
Qu'elle ne soit rien que pour moi
Pour qu'elle m'aime
Je ferais n'importe quoi

Ma tête tourne, ma tête frappe
À coups de tambours qui éclatent
Je voudrais qu'elle devienne ma loi
Je serais le mendiant, le roi
Pour qu'elle m'aime,
Pour qu'elle m'aime !

Prêt à casser des montagnes
À brûler la terre entière
À faire dix mille ans de bagne
À vider l'eau de la mer

Pour la serrer contre moi
Et sentir trembler ses doigts
Au bout du souffle, de sa voix
Entendre qu'elle m'aimera

Comme un piano qui se casse
Ses notes écrasées par terre
Comme le feu sur la glace
L'avion qui explose en l'air

Je vendrais mon âme au diable
Je viderais l'eau des rivières
Pour être seul à la table
De l'amour qu'elle préfère

Ma tête tourne, ma tête frappe
À coups de tambours qui éclatent
Un fou qui fait n'importe quoi
Qu'elle ne soit rien que pour moi
Pour qu'elle m'aime
Je ferais n'importe quoi

Ma tête tourne, ma tête frappe
À coups de tambours qui éclatent
Je voudrais qu'elle devienne ma loi
Je serais le mendiant, le roi
Pour qu'elle m'aime,
Pour qu'elle m'aime !
(bis)

Like an artist in hell,
like a child who gets lost,
I was like this in front of her.
She was so beautiful.

She was so the one for me,
That I don't even know
if I saw my fingers shaking,
while she was there !

Ready to forget my pain,
ready to cut my veins,
ready to start over my life,
ready to start over my life.

Ready to kill the demons
who prevent me from seeing her again.
And ready to call out her name
all my life in the darkness.

My head turns, my head knocks
at the beating of the drums that are bursting.
A crazy who does anything
That she may be only for me.
So that she can love me,
I would do anything.

My head turns, my head knocks
at the beating of the drums that are bursting.
I would like her to become my law.
I would be the beggar, the king,
so that she can love me,
so that she can love me !

Ready to smash mountains,
to burn down the entire planet,
to do ten thousand years in prison,
to empty the water of the sea.

So as to hold her against me
and feel her shaking her fingers
at the end of her breath, of her voice
to hear that she will love me.

Like a piano that breaks
Its notes crushed on the floor.
Like the fire on the ice,
The airplane that blows up in the air.

I would sell my soul to the Devil,
I would empty the water from the rivers,
so as to be alone at the table,
for the love which she prefers.

My head turns, my head knocks
at the beating of the drums that are bursting.
A crazy who does anything
That she may be only for me.
So that she can love me,
I would do anything.

My head turns, my head knocks
at the beating of the drums that are ursting.
I would like her to become my law.
I would be the beggar, the king,
so that she can love me,
so that she can love me !

Thanks to MsFroggie on LyricsTranslate
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Excès nocturne - Le soleil s'est noyé - 1988
Coldwave, Post-Punk

Album: L'écho des lumières (RYM: 3,51/5)

Created in 1984 by Rémy Lozowski (guitar) and Thierry Horon (drums), after a first 7" with a singer (Richard Gradisnik) in 1986, the band changed line-up and welcomed Ariane on vocals and lyrics, as well as Richard Horon on bass. The drummer Thierry Horon will leave the group a little before it splits up in 1989, just before the release of the 4 tracks LP signed to New-Wave. In 2006, the band reunited for a few concerts on the occasion of the release of their retrospective on the French label Infrastition.
Voici venir les temps où vibrant sur sa tige
Chaque fleur s'évapore ainsi qu'un encensoir
Les sons et les parfums tournent dans l'air du soir
Valse mélancolique et langoureux vertige
Valse mélancolique et langoureux vertige

Chaque fleur s'évapore ainsi qu'un encensoir
Le violon frémit comme un cœur qu'on afflige
Valse mélancolique et langoureux vertige
Le ciel est triste et beau comme un grand reposoir
Le ciel est triste et beau comme un grand reposoir

Le soleil s'est noyé dans son sang qui se fige
Le violon frémit comme un cœur qu'on afflige

Le violon frémit comme un cœur qu'on afflige
Un cœur tendre, qui hait le néant vaste et noir
Le ciel est triste et beau comme un grand reposoir
Le soleil s'est noyé dans son sang qui se fige
Le soleil s'est noyé dans son sang qui se fige
Le soleil s'est noyé dans son sang qui se fige

Le violon frémit comme un cœur qu'on afflige
Le soleil s'est noyé dans son sang qui se fige
Le soleil s'est noyé

Un cœur tendre, qui hait le néant vaste et noir
Du passé lumineux recueille tout vestige
Le soleil s'est noyé dans son sang qui se fige
Ton souvenir en moi luit comme un ostensoir
Ton souvenir en moi luit comme un ostensoir
Le soleil s'est noyé dans son sang qui se fige
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Camille Saint-Saëns - L’Assassinat du duc de Guise - 1908 - OST

Charles-Camille Saint-Saëns (French: [ʃaʁl kamij sɛ̃ sɑ̃(s)]; 9 October 1835 – 16 December 1921) was a French composer, organist, conductor and pianist of the Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Second Piano Concerto (1868), the First Cello Concerto (1872), Danse macabre (1874), the opera Samson and Delilah (1877), the Third Violin Concerto (1880), the Third ("Organ") Symphony (1886) and The Carnival of the Animals (1886).

Saint-Saëns was a musical prodigy; he made his concert debut at the age of ten. After studying at the Paris Conservatoire he followed a conventional career as a church organist, first at Saint-Merri, Paris and, from 1858, La Madeleine, the official church of the French Empire. After leaving the post twenty years later, he was a successful freelance pianist and composer, in demand in Europe and the Americas.

As a young man, Saint-Saëns was enthusiastic for the most modern music of the day, particularly that of Schumann, Liszt and Wagner, although his own compositions were generally within a conventional classical tradition. He was a scholar of musical history, and remained committed to the structures worked out by earlier French composers. This brought him into conflict in his later years with composers of the impressionist and dodecaphonic schools of music; although there were neoclassical elements in his music, foreshadowing works by Stravinsky and Les Six, he was often regarded as a reactionary in the decades around the time of his death.

Saint-Saëns held only one teaching post, at the École de Musique Classique et Religieuse in Paris, and remained there for less than five years. It was nevertheless important in the development of French music: his students included Gabriel Fauré, among whose own later pupils was Maurice Ravel. Both of them were strongly influenced by Saint-Saëns, whom they revered as a genius.
https://en.wikipedia.org/wiki/Camille_Saint-Sa%C3%ABns
The Assassination of the Duke of Guise (1908) (original French title: La Mort du duc de Guise; often referred to as L'Assassinat du duc de Guise) is a French historical film directed by Charles le Bargy and André Calmettes, adapted by Henri Lavedan, and featuring actors of the Comédie-Française and prominent set designers. It is one of the first films to feature both an original film score, composed by Camille Saint-Saëns, and a screenplay by an eminent screenwriter.

Lasting longer than was then usual, about 15 minutes, the film more or less accurately depicts the events of the day in 1588 when King Henry III (played by co-director le Bargy) summoned his powerful rival, Duke Henri de Guise, to his chambers at the Château de Blois and had him brutally murdered. The film has its share of lurid thrills and better acting than most films of the time. It is staged in a somewhat theatrical manner but has slow pacing throughout.

Production
The Assassination was one of the first and most successful films to be made by Le Film d'Art [fr], a production company founded in 1907 with the intention of making films that would earn the respect of the cultural elite as well as the patronage of large audiences. The script was written for the screen (by Henri Lavedan), but its costumes and staging followed the historical tradition of the French theater.

The movie contains the rudiments of the more elaborate narrative techniques of films to come. Although it consists of only nine shots, with theatrical rather than cinematic acting and staging, it presents enough elements of a story that it could be understood on its own. It does this through continuity of action and space. Leading up to and including the assassination, the camera follows the movements of the main character over five separate shots, through three separate rooms and back. Other elements were theatrical rather than filmic, such as sets with painted backdrops and the camera's single stationary position for each scene, reminiscent of a seat on the main floor, not far from the "stage."

Calmettes and le Bargy were both eminent actors, and le Bargy a member of the Comédie-Française.

The Fairylogue and Radio-Plays contains the earliest documented original score in all of cinema; The Assassination of the Duke of Guise debuted in the United States around four months later. Calmettes is credited with the idea of scoring the film, and Saint-Saëns was a logical choice for such a prestigious venture. At age 73, he was probably France's most celebrated composer, and he had extensive experience in theater music. The score integrates small-scale dramatic details within a large-scale musical form to a degree rarely equaled during the rest of the silent period. Information about how he approached the project is scarce and ambiguous. Bonnerot, his biographer, tells us that he worked out the music "scene by scene before the screen"; and that because of the approach of winter he left Paris before the film's première, leaving Fernand LeBorne to conduct the orchestra. Saint-Saëns had a piano reduction of the score, dedicated to LeBorne, published by Durand that year.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Nyaouly-in - Une nuit étoilée - 2016
Nouvelle-Calédonie (Iles loyautés)

Facebook:
Nyaouly in (my niaouli) group of young people from the Wabao Oguerit tribe of southern Maré.

Maré Island:
https://www.nouvellecaledonie.travel/fr/iles/mare
Maré Island or Nengone (French: Île de Maré) is the second-largest of the Loyalty Islands, in the archipelago of New Caledonia, an overseas territory of France in the Pacific Ocean. The island is part of the commune (municipality) of Maré, in the Loyalty Islands Province of New Caledonia.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Georges Brassens - Les copains d'abord - 1964
Chanson

Album: Les copains d'abord (RYM: 3,72/5)


Wikipédia:
Georges Charles Brassens (French pronunciation: ​[ʒɔʁʒ(ə) ʃaʁl bʁasɛ̃s]; 22 October 1921 – 29 October 1981) was a French singer-songwriter and poet.

As an iconic figure in France, he achieved fame through his elegant songs with their harmonically complex music for voice and guitar and articulate, diverse lyrics. He is considered one of France's most accomplished postwar poets. He has also set to music poems by both well-known and relatively obscure poets, including Louis Aragon (Il n'y a pas d'amour heureux [fr]), Victor Hugo (La Légende de la Nonne, Gastibelza), Paul Verlaine, Jean Richepin, François Villon (La Ballade des Dames du Temps Jadis), and Antoine Pol (Les Passantes).

During World War II, he was forced by the Germans to work in a labor camp at a BMW aircraft engine plant in Basdorf near Berlin in Germany (March 1943). Here Brassens met some of his future friends, such as Pierre Onténiente, whom he called Gibraltar because he was "steady as a rock." They would later become close friends.

After being given ten days' leave in France, he decided not to return to the labor camp. Brassens took refuge in a small cul-de-sac called "Impasse Florimont," in the 14th arrondissement of Paris, a popular district, where he lived for several years with its owner, Jeanne Planche, a friend of his aunt. Planche lived with her husband Marcel in relative poverty: without gas, running water, or electricity. Brassens remained hidden there until the end of the war five months later, but ended up staying for 22 years. Planche was the inspiration for Brassens's song Jeanne.

He wrote and sang, with his guitar, more than a hundred of his poems. Between 1952 and 1976, he recorded fourteen albums that include several popular French songs such as Les copains d'abord, Chanson pour l'Auvergnat, La mauvaise réputation, and Mourir pour des idées. Most of his texts are tinged with black humour and are often anarchist-minded.

In 1967, he received the Grand Prix de Poésie of the Académie française.

Apart from Paris and Sète, he lived in Crespières (near Paris) and in Lezardrieux (Brittany).

https://en.wikipedia.org/wiki/Georges_Brassens

Live:
https://www.youtube.com/watch?v=L9oEcWFjF3M
Pomplamoose cover:
https://www.youtube.com/watch?v=igNe4l_svLU
Giants of jazz play Brassens:
https://www.youtube.com/watch?v=6_w6n9oSW3o
-M- cover for a movie:
https://www.youtube.com/watch?v=AESBiuQVigc


Non, ce n'était pas le radeau
De la Méduse, ce bateau
Qu'on se le dise au fond des ports
Dise au fond des ports
Il naviguait en père peinard
Sur la grand-mare des canards
Et s'appelait les copains d'abord
Les copains d'abord

Ses fluctuat nec mergitur
C'était pas de la littérature
N'en déplaise aux jeteurs de sort
Aux jeteurs de sort
Son capitaine et ses mat'lots
N'étaient pas des enfants d'salauds
Mais des amis franco de port
Des copains d'abord

C'étaient pas des amis de luxe
Des petits Castor et Pollux
Des gens de Sodome et Gomorrhe
Sodome et Gomorrhe
C'étaient pas des amis choisis
Par Montaigne et La Boëtie
Sur le ventre ils se tapaient fort
Les copains d'abord

C'étaient pas des anges non plus
L'Évangile, ils l'avaient pas lu
Mais ils s'aimaient tout's voil's dehors
Tout's voiles dehors
Jean, Pierre, Paul et compagnie
C'était leur seule litanie
Leur Credo, leur Confiteor
Aux copains d'abord

Au moindre coup de Trafalgar
C'est l'amitié qui prenait l'quart
C'est elle qui leur montrait le nord
Leur montrait le nord
Et quand ils étaient en détresse
Que leurs bras lancaient des SOS
On aurait dit les sémaphores
Les copains d'abord

Au rendez-vous des bons copains
Y avait pas souvent de lapins
Quand l'un d'entre eux manquait à bord
C'est qu'il était mort
Oui, mais jamais, au grand jamais
Son trou dans l'eau ne se refermait
Cent ans après, coquin de sort
Il manquait encore

Des bateaux j'en ai pris beaucoup
Mais le seul qu'ait tenu le coup
Qui n'ai jamais viré de bord
Mais viré de bord
Naviguait en père peinard
Sur la grand-mare des canards
Et s'appelait les copains d'abord
Les copains d'abord

No, this boat was no wicked raft
Of the Medusa, that black craft
Let it be known in all the ports
Let it be known
She sailed like the Père Peinard
Tranquilly on the grand duck pond
And called herself the Comrades Aboard
The Comrades Aboard

Her fluctuat nec mergitur
Was no literary yarn
Whatever spellbinders believe
May have you believe
Her captain and seaworthy men
Were not the sons of ruffians
But bona fide friends of free port
First comrades aboard

’Twere no friends of luxuriant means
No pampered Castor and Pollux
Nor folks of Sodom and Gomorrah
Sodom and Gomorrah
’Twas neither a group of friends picked
By Montaigne and La Boetie
They tapped each other heartily on the belly
The comrades aboard

They were no angels either
Of the Gospels, they'd not read a line
But they all loved each other well,
It showed in the sails
John, Peter, Paul and company
Was their only litany
Their Credo, their Confiteor
The comrades aboard

The smallest shot from Trafalgar
And it was friendship at the helm
It was friendship that pointed north
That pointed them north
And when they were in some distress
Their arms would wave an S.O.S.
You'd have taken them for semaphores
The comrades aboard

At their reunions of close chums
There wasn’t often a no show
If one was missing on board
It’s because he was dead
Yes, but never ever
Will they close the books on his watery grave
One hundred years after the rascal’s fate
He will still be missed

I’ve sailed with many a ship before
But the only one that’s held firm
The one that's always held her course
Always held her course
Sailed like the Père Peinard
In all tranquillity on the grand duck pond
And called herself the Comrades Aboard
The Comrades Aboard


Père Peinard – the name of an anarchist journal created by Émile Pouget in February 1889, ironically because “père peinard” means a quiet, tranquil man.

Fluctuat nec mergitur – She is tossing on the waves but will not be swallowed by them; motto of Paris, France and on its coat of arms, depicting a ship sailing the rough seas

thanks to petitbalperdu on LyricsTranslate.


The Brassens songs are sometimes so difficult to understand, even for a native french speakers, because of the cultural background and incredible vocabulary, that a beautiful website was created just for explain the songs :
http://www.analysebrassens.com/?page=texte&id=83&%23
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Christian Zÿsset - Lento Misterioso - 1972 - Jazz
Free Jazz, Library Music, Third Stream, Progressive Big Band

Album: Cosmogonie (RYM: 3,46/5)

I don't find any info.
Last edited by Romain on Mon Sep 25, 2023 7:20 am, edited 1 time in total.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Sullivan - Jen 'ai pas tout perdu - 1967
Psychedelic pop

Album: Le pays des merveilles (RYM: 3,23/5)

His real name is Jacques (Jacky) Dautriche and he was born on 20/09/1942 in Gonesse.
He first played in different groups: Les Daems, Les Cobras, les Tarés and Les Problèmes (during Luis Rego's absence).
He chose a pseudonym rhyming with Dylan and Donovan: Sullivan and released, in January 67, on Vogue, the album "Le Pays des Merveilles" produced by Christian Fechner.
It was followed, the same year, by three singles: "Les Palais de l'Orient", "Mac-Intoch" and "Comme un poisson dans l'eau". Then came May 68 and the end of his brief career in
career in song.

User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Pierre Abélard - Planctus David super Saul et Ionatha (Dolorum solatium) - 1130 - Classical

Peter Abelard (/ˈæbəlɑːrd/; French: Pierre Abélard; Latin: Petrus Abaelardus or Abailardus; c. 1079 – 21 April 1142) was a medieval French scholastic philosopher, leading logician, theologian, poet, composer and musician.

In philosophy he is celebrated for his logical solution to the problem of universals via nominalism and conceptualism and his pioneering of intent in ethics. Often referred to as the "Descartes of the twelfth century", he is considered a forerunner of Rousseau, Kant, and Spinoza. He is sometimes credited as a chief forerunner of modern empiricism.

In history and popular culture, he is best known for his passionate and tragic love affair, and intense philosophical exchange, with his brilliant student and eventual wife, Héloïse d'Argenteuil. He was a defender of women and of their education. After having sent Héloïse to a convent in Brittany to protect her from her abusive uncle who did not want her to pursue this forbidden love, he was castrated by men sent by this uncle. Still considering herself as his spouse even though both retired to monasteries after this event, Héloïse publicly defended him when his doctrine was condemned by Pope Innocent II and Abelard was therefore considered, at that time, as a heretic. Among these opinions, Abelard professed the innocence of a woman who commits a sin out of love.

In Catholic theology, he is best known for his development of the concept of limbo, and his introduction of the moral influence theory of atonement. He is considered (alongside Augustine) to be the most significant forerunner of the modern self-reflective autobiographer. He paved the way and set the tone for later epistolary novels and celebrity tell-alls with his publicly distributed letter, The History of My Calamities, and public correspondence.

In law, Abelard stressed that, because the subjective intention determines the moral value of human action, the legal consequence of an action is related to the person that commits it and not merely to the action. With this doctrine, Abelard created in the Middle Ages the idea of the individual subject central to modern law. This eventually gave to School of Notre-Dame de Paris (later the University of Paris) a recognition for its expertise in the area of Law (and later led to the creation of a faculty of law in Paris).


Abelard was also long known as an important poet and composer. He composed some celebrated love songs for Héloïse that are now lost, and which have not been identified in the anonymous repertoire. (One known romantic poem / possible lyric remains, "Dull is the Star".) Héloïse praised these songs in a letter: "The great charm and sweetness in language and music, and a soft attractiveness of the melody obliged even the unlettered". His education in music was based in his childhood learning of the traditional quadrivium studied at the time by almost all aspiring medieval scholars.

Abelard composed a hymnbook for the religious community that Héloïse joined. This hymnbook, written after 1130, differed from contemporary hymnals, such as that of Bernard of Clairvaux, in that Abelard used completely new and homogeneous material. The songs were grouped by metre, which meant that it was possible to use comparatively few melodies. Only one melody from this hymnal survives, O quanta qualia.

Planctus ?
A planctus ("plaint") is a lament or dirge, a song or poem expressing grief or mourning. It became a popular literary form in the Middle Ages, when they were written in Latin and in the vernacular (e.g., the planh of the troubadours). The most common planctus is to mourn the death of a famous person, but a number of other varieties have been identified by Peter Dronke. The earliest known example, the Planctus de obitu Karoli, was composed around 814, on the death of Charlemagne.

Other planctus from the ninth century include vernacular laments in a woman's voice, Germanic songs of exile and journeying, and planctus on biblical or classical themes (like the Latin Planctus cygni, which is possibly derived from Germanic models). The earliest examples of music for planctus are found in tenth-century manuscripts associated with the Abbey of Saint Martial of Limoges. From the twelfth century Dronke identifies a growing number of laments of the Virgin Mary (called a planctus Mariae) and complaintes d'amour (complaints of love) in the courtly love tradition. From the mid-thirteenth century survives an early Catalan Marian lament, Augats, seyós qui credets Déu lo Payre, and around 1300 the Lamentations of Mary were composed in Old Hungarian. The Mongol invasion of Europe drew a planctus from an anonymous monk in the entourage of Béla IV of Hungary, the Planctus destructionis regni Hungariae per Tartaros (1242).
Dolorum solatium,
Laborum remedium,
Mihi mea cithara,
Nunc quo major dolor est,
Justiorque moeror est
Plus est necessaria.

Strages magna populi,
Regis mors et filii,
Hostium victoria,
Ducum desolatio,
Vulgi desperatio,
Luctu replent omnia.

Amalech invaluit
Israel dum corruit,
Infidelis jubilat
Philistaea
Dum lamentis macerat
Se Judaea.

Insultat fidelibus Infidelis populus;
In honorem maximum
Plebs adversa,
In derisum omnium
Fit divina.

Insultantes inquiunt:
"Ecce de quo garriunt,
Qualiter hos perdidit
Deus summus,
Dum a multis occidit
Dominus prostratus."

Quem primum his praebuit,
Victus rex occubuit;
Talis est electio
Derisui,
Talis consecratio
Vatis magni.

Saul regum fortissime,
Virtus invicta Jonathae,
Qui vos nequit vincere,
Permissus est occidere.

Quasi non esset oleo
Consecratus dominico,
Scelestae manus gladio
Jugulatur in praelio.

Plus fratre mihi Jonatha,
In una mecum anima,
Quae peccata, quae scelera,
Nostra sciderunt viscera!

Expertes montes Gelboe,
Roris sitis et pluviae,
Nec agrorum primitiae
Vestrae succurrunt incolae.

Vae, vae tibi, madida
Tellus caede regia!
Quare te, mi Jonatha,
Manus stravit impia?

Ubi Christus Domini,
Israelque inclyti,
Morte miserabili
Sunt cum suis perditi?

Tu mihi nunc, Jonatha,
Flendus super omnia,
Inter cuncta gaudia
Perpes erit lacryma.

Planctus, Sion filiae,
Super Saul sumite,
Largo cujus munere
Vos ornabant purpurae.

Heu! cur consilio
Acquievi pessimo,
Ut tibi praesidio
Non essem in praelio?

Vel confossus pariter
Morirer feliciter,
Quum, quod amor faciat,
Majus hoc non habeat.

Et me post te vivere
Mori sit assidue,
Nec ad vitam anima
Satis est dimidia.

Vicem amicitiae
Vel unam me reddere,
Oportebat tempore
Summae tunc angustiae;

Triumphi participem
Vel ruinae comitem,
Ut te vel eriperem
Vel tecum occumberem,

Vitam pro te finiens,
Quam salvasti totiens,
Ut et mors nos jungeret
Magis quam disjungeret.

Infausta victoria
Potitus, interea,
Quam vana, quam brevia
Hic percepi gaudia!

Quam cito durissimus
Est secutus nuntius,
Quem in sua anima
Locuta est superbia!

Mortuos quos nuntiat
Illata mors aggregat,
Ut doloris nuntius
Doloris sit socius.

Do quietem fidibus:
Vellem ut et planctibus
Sic possem et fletibus!
Caesis pulsu manibus,
Raucis planctu vocibus
Deficit et spiritus.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Warning - Rock City - 1982
Heavy Metal, Hard Rock

Album: Warning II (RYM: 3,52/5)

Warning is a former French hard rock heavy metal band active from 1980 to 1985 and often presented commercially as the biggest French hard rock band after Trust.

The first two albums simply entitled Warning and Warning II seem to have sold over 100,000 copies each, sales figures that give them the distinction of a gold record. Similarly, the cumulative sales of the band's three albums reached the figure of 250,000 copies sold, without taking into account the reissues in CD format of the first two albums.

User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Jeanne Moreau - J'ai la mémoire qui flanche - 1963
Chanson

Album: Chante 12 chansons de Cyrus Bassiak (RYM: 3,47/5)

Wikipédia:
Jeanne Moreau (French pronunciation: ​[ʒan mɔʁo]; 23 January 1928 – 31 July 2017) was a French actress, singer, screenwriter, director, and socialite. She made her theatrical debut in 1947, and established herself as one of the leading actresses of the Comédie-Française. Moreau began playing small roles in films in 1949, later achieving prominence with starring roles in Louis Malle's Elevator to the Gallows (1958), Michelangelo Antonioni's La Notte (1961), and François Truffaut's Jules et Jim (1962). Most prolific during the 1960s, Moreau continued to appear in films into her 80s. Orson Welles called her "the greatest actress in the world".

She won the Cannes Film Festival Award for Best Actress for Seven Days... Seven Nights (1960), the BAFTA Award for Best Foreign Actress for Viva Maria! (1965), and the César Award for Best Actress for The Old Lady Who Walked in the Sea (1992). She was also the recipient of several lifetime achievement awards, including a BAFTA Fellowship in 1996, a Cannes Golden Palm in 2003, and another César Award in 2008.
https://en.wikipedia.org/wiki/Jeanne_Moreau
J'ai la mémoire qui flanche,
j'me souviens plus très bien
comme il était très musicien,
il jouait beaucoup des mains.
Tout entre nous a commencé
par un très long baiser
sur la veine bleutée du poignet,
un long baiser sans fin.

J'ai la mémoire qui flanche,
j'me souviens plus très bien
quel pouvait être son prénom
et quel était son nom.
Il s'appelait, je l'appelai,
comment l'appelait-on ?
Pourtant c'est fou ce que j'aimais
l'appeler par son nom.

J'ai la mémoire qui flanche,
j'me souviens plus très bien
de quelle couleur étaient ses yeux,
j'crois pas qu'ils étaient bleus.
Étaient-ils verts, étaient-ils gris,
étaient-ils vertdigris ?
Ou changeaient-ils tout le temps d'couleur,
pour un non, pour un oui?

J'ai la mémoire qui flanche,
j'me souviens plus très bien,
habitait-il ce vieil hôtel bourré de musiciens
pendant qu'il me, pendant que je,
pendant qu'on faisait la fête ?
Tous ces saxos, ces clarinettes
qui me tournaient la tête.

J'ai la mémoire qui flanche,
j'me souviens plus très bien
lequel de nous deux s'est lassé
de l'autre le premier.
Était-ce moi, était-ce lui,
était-ce donc moi ou lui ?
Tout ce que je sais, c'est que depuis
je ne sais plus qui je suis.

J'ai la mémoire qui flanche,
j'me souviens plus très bien.
Voilà qu'après toutes ces nuits blanches,
il ne reste plus rien,
rien qu'un petit air
qu'il sifflotait chaque jour en se rasant :

Pa dou di dou da di dou di
Pa dou di dou da di dou
Pa dou di dou da di dou
Pa dou di dou da dou da
Pa dou da dou da di dou
Pa dou da di dou di
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Rose Laurens - Africa - 1982
Pop, synthpop

Wikipédia:
Rose Laurens, previously billed as Rose Merryl (born Rose Podwojny; 4 March 1951 – 29 April 2018), was a French singer-songwriter, known for her 1982 single "Africa", a top-three hit in several European countries. She was also famous for portraying the character of Fantine, on the original 1980 French concept album of Les Misérables, singing "L'air de la misère" and "J'avais rêvé d'une autre vie" two songs later adapted into English as "On My Own" and "I Dreamed a Dream" respectively. In 1986 her single "American Love" was quite successful in some European countries.

Je suis amoureuse d'une terre sauvage
Un sorcier vaudou m'a peint le visage
Son gris-gris me suit au son des tam-tams
Parfum de magie sur ma peau blanche de femme

Africa
J'ai envie de danser
Comme toi
De m'offrir à ta loi
Africa
De bouger à me faire
Mal de toi
Et d'obéir à ta voix
Africa

Je danse pieds nus sous un soleil rouge
Les dieux à genoux ont le cœur qui bouge
Le feu de mon corps devient un rebelle
Le cri des gourous a déchiré le ciel

Africa
J'ai envie de danser
Comme toi
De m'offrir à ta loi
Africa
De bouger à me faire
Mal de toi
Et d'obéir à ta voix
Africa

Dangereuse et sensuelle, sous ta pluie sucrée
Panthère ou gazelle, je me suis couchée
Au creux de tes griffes je suis revenue
À l'ombre des cases je ferai ma tribu

Africa
J'ai envie de danser
Comme toi
De m'offrir à ta loi
Africa
De bouger à me faire
Mal de toi
Et d'obéir à ta voix
Africa, Africa, Africa

I'm in love with a wild land
A voodoo sorcerer had painted my face
His gris-gris* follows me on the sound of the tamtams
Magical perfume on my womanly white skin

Africa
I want to dance
Like you
Offer myself to you
Africa
To move to
hurt myself on you
And to obey to your voice
Africa

I dance with naked feet under a red sun
The gods are at their knees and have a heart that moves
The fire of my body becomes a rebel
The cry of the gurus has ripped the sky

Africa
I want to dance
Like you
Offer myself to you
Africa
To move to
hurt myself on you
And to obey to your voice
Africa

Dangerous and sensual, under your sugar rain
Panther or gazelle, I went to sleep
In the slits of your claws, I've come back
In the shadow of the huts, I'll make my tribe

Africa
I want to dance
Like you
Offer myself to you
Africa
To move to
hurt myself on you
And to obey to your voice
Africa

* a gris-gris is a voodoo amulet originating in Africa which is believed to protect the wearer from evil
User avatar
ProjectTermina
Let's Get It On
Posts: 161
Joined: Mon Jan 17, 2022 3:25 am

Re: France - One song per day.

Post by ProjectTermina »

Romain wrote: Wed Jan 12, 2022 11:54 am Dobet Gnahoré - Lève-toi - 2021
Côte d'Ivoire

Album: Couleur
This is a banger, thanks for the rec.
Romain wrote: Sat Feb 05, 2022 7:30 pm Pierre Abélard - Planctus David super Saul et Ionatha (Dolorum solatium) - 1130 - Classical
Ooh, this is cool. Apparently this is what the written work looks like:

Image

Wonder how they read that.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

ProjectTermina wrote: Wed Feb 09, 2022 5:46 pm
Ooh, this is cool. Apparently this is what the written work looks like:

Image

Wonder how they read that.
Thanks for the comments.
I can't see the image but I imagine what it looks.
If you use a translator, this document in French can help you:
https://beaune.bibli.fr/images/site/bea ... itions.pdf
User avatar
ProjectTermina
Let's Get It On
Posts: 161
Joined: Mon Jan 17, 2022 3:25 am

Re: France - One song per day.

Post by ProjectTermina »

Romain wrote: Wed Feb 09, 2022 7:36 pm
ProjectTermina wrote: Wed Feb 09, 2022 5:46 pm
Ooh, this is cool. Apparently this is what the written work looks like:

Image

Wonder how they read that.
Thanks for the comments.
I can't see the image but I imagine what it looks.
If you use a translator, this document in French can help you:
https://beaune.bibli.fr/images/site/bea ... itions.pdf
Shit, I know why. Try this:

Image
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

ProjectTermina wrote: Wed Feb 09, 2022 11:52 pm Image
That's what I thought, that's what we call Neume!

https://en.wikipedia.org/wiki/Neume
A neume (/njuːm/; sometimes spelled neum) is the basic element of Western and Eastern systems of musical notation prior to the invention of five-line staff notation.

The earliest neumes were inflective marks that indicated the general shape but not necessarily the exact notes or rhythms to be sung. Later developments included the use of heightened neumes that showed the relative pitches between neumes, and the creation of a four-line musical staff that identified particular pitches. Neumes do not generally indicate rhythm, but additional symbols were sometimes juxtaposed with neumes to indicate changes in articulation, duration, or tempo. Neumatic notation was later used in medieval music to indicate certain patterns of rhythm called rhythmic modes, and eventually evolved into modern musical notation. Neumatic notation remains standard in modern editions of plainchant.
The word "neume" entered the English language in the Middle English forms "newme", "nevme", "neme" in the 15th century, from the Middle French "neume", in turn from either medieval Latin "pneuma" or "neuma", the former either from ancient Greek πνεῦμα pneuma ("breath") or νεῦμα neuma ("sign"), or else directly from Greek as a corruption or an adaptation of the former
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Mistinguett - Ça, c'est Paris - 1926
Chanson, Belle-époque

Wikipédia:
Mistinguett (French: [mistɛ̃ɡɛt], born Jeanne Florentine Bourgeois; 5 April 1873 – 5 January 1956) was a French actress and singer. She was at one time the highest-paid female entertainer in the world.

The daughter of Antoine Bourgeois, a 31-year-old day-laborer, and Jeannette Debrée, a 21-year-old seamstress, Jeanne Bourgeois was born at 5 Rue du Chemin-de-Fer (today Rue Gaston-Israël), in Enghien-les-Bains, Val-d'Oise, Île-de-France, France. The family moved to Soisy-sous-Montmorency where she spent her childhood; her parents later worked as mattress-makers.

At an early age Bourgeois aspired to be an entertainer. She began as a flower seller in a restaurant in her hometown, singing popular ballads as she sold blossoms.


After taking classes in theatre and singing, she began her career as an entertainer in 1885. One day on the train to Paris for a violin lesson, she met Saint-Marcel, who directed the revue at the Casino de Paris. He engaged her first as a stage-hand, and here she began to pursue her goal to become an entertainer, experimenting with various stage-names, being successively Miss Helyett, Miss Tinguette, Mistinguette and, finally, Mistinguett. In the 1880s Mistinguett visited her neighbor Anna Thibaud to ask for advice. Thibaud told her, "To succeed in the theatre ... you must be pretty. You must excite men." Mistinguett asked if she meant that she had to excite the crowds. Thibaud repeated, "No, the men!"

Bourgeois made her debut as Mistinguett at the Casino de Paris in 1895 and went on to appear in venues such as the Folies Bergère, Moulin Rouge and Eldorado. Her risqué routines captivated Paris, and she went on to become the most popular French entertainer of her time and the highest-paid female entertainer in the world, known for her flamboyance and a zest for the theatrical. In 1919 her legs were insured for 500,000 francs.

Though Mistinguett never married, she had a son, Léopoldo João de Lima e Silva. She also had a long relationship with Maurice Chevalier, 13 years her junior. It is claimed that she and Chevalier informed the police in 1940 that singer-songwriter Charles Trenet was gay and consorting with youths.

She first recorded her signature song, "Mon Homme", in 1916. It was popularised under its English title "My Man" by Fanny Brice and has become a standard in the repertoire of numerous pop and jazz singers.

During a tour of the United States, Mistinguett was asked by Time magazine to explain her popularity. Her answer was, "It is a kind of magnetism. I say 'Come closer' and draw them to me."

Mistinguett died in Bougival, France, at the age of 82, attended by her son, a doctor. She is buried in the Cimetière Enghien-les-Bains, Île-de-France, France.

Upon her death, writer Jean Cocteau observed in an obituary,

"Her voice, slightly off-key, was that of the Parisian street hawkers—the husky, trailing voice of the Paris people. She was of the animal race that owes nothing to intellectualism. She incarnated herself. She flattered a French patriotism that was not shameful. It is normal now that she should crumble, like the other caryatids of that great and marvelous epoch that was ours".
Paris... reine du monde
Paris... c'est une blonde
Le nez retroussé, l'air moqueur
Les yeux toujours rieurs
Tous ceux qui te connaissent
Grisés par tes caresses
S'en vont mais revienn'nt toujours
Paris... à tes amours !

La p'tit' femme de Paris
Malgré ce qu'on en dit
A les mêmes attraits
Que les autres oui, mais
Ell' possède à ravir
La manière d' s'en servir
Elle a perfectionné
La façon de s' donner
Ça, c'est Paris !
Ça, c'est Paris !

Paris... reine du monde
Paris... c'est une blonde
Le nez retroussé, l'air moqueur
Les yeux toujours rieurs
Tous ceux qui te connaissent
Grisés par tes caresses
S'en vont mais revienn'nt toujours
Paris... à tes amours !

Ce n'est pas la beauté
Dans un peplum drapé
Ell' s'habille d'un rien
Mais ce rien lui va bien.
Quand elle a dix-sept ans,
C'est un bouton d'printemps,
Mais l'bouton s'ouvrira
Et tout l'monde s'écriera...

Paris... reine du monde
Paris... c'est une blonde
Le nez retroussé, l'air moqueur
Les yeux toujours rieurs
Tous ceux qui te connaissent
Grisés par tes caresses
S'en vont mais revienn'nt toujours
Paris... à tes amours !

Elle a des boniments
Tout à fait surprenants:
Vous lui dit's: Ma mignonn'
Viens danser l'charleston.
Quand elle est dans vos bras,
Ell' vous murmur' tout bas:
Qu'est-c'qu'y a sous ton veston?
Dis-le moi, Charles, est-c't'on.

Paris... reine du monde
Paris... c'est une blonde
Le nez retroussé, l'air moqueur
Les yeux toujours rieurs
Tous ceux qui te connaissent
Grisés par tes caresses
S'en vont mais revienn'nt toujours
Paris... à tes amours !

Mesdam's, quand vos maris
Vienn'nt visiter Paris,
Laissez les venir seuls,
Vous tromper tant qu'ils veul'nt
Lorsqu'ils vous reviendront,
J'vous promets qu'ils sauront
Ce qu'un homm' doit savoir
Pour bien faire son devoir

Paris... reine du monde
Paris... c'est une blonde
Le nez retroussé, l'air moqueur
Les yeux toujours rieurs
Tous ceux qui te connaissent
Grisés par tes caresses
S'en vont mais revienn'nt toujours
Paris... à tes amours !

Paris... queen of the world
Paris... she’s a blonde
She has a snub nose, in mocking manner
Always with laughing eyes
Everyone who knows you
Drunk by your caresses
They leave, but they always come back
Paris... to your loves!

The little lady of Paris
Despite of what they say
Has the same charms
Like the others have, yes, but
She has a lot to offer
The manner of serving
She perfected
The way to give herself
This is Paris!
This is Paris!

Paris... queen of the world
Paris... she’s a blonde
She has a snub nose, in mocking manner
Always with laughing eyes
Everyone who knows you
Drunk by your caresses
They leave, but they always come back
Paris... to your loves!

It’s not the beauty
In a draped peplum*
She wears nothing
But nothing suits her well
When she's seventeen
It’s a bud of spring,
But the button will open
And everyone will shout...

Paris... queen of the world
Paris... she’s a blonde
She has a snub nose, in mocking manner
Always with laughing eyes
Everyone who knows you
Drunk by your caresses
They leave, but they always come back
Paris... to your loves!

She has offers
Quite surprising:
You say to her: My darlin'
Come dance the charleston.
When she’s in your arms,
She will whisper to you:
What’s under your jacket?
Tell me, Charles, do it.

Paris... queen of the world
Paris... she’s a blonde
She has a snub nose, in mocking manner
Always with laughing eyes
Everyone who knows you
Drunk by your caresses
They leave, but they always come back
Paris... to your loves!

My ladies, when your husbands
Come to visit Paris
Let them walk alone
Let them cheat you as they want
And when they will come back to you
I promise you, that they will know
What a man needs to know
To do a good job.

Paris... queen of the world
Paris... she’s a blonde
She has a snub nose, in mocking manner
Always with laughing eyes
Everyone who knows you
Drunk by your caresses
They leave, but they always come back
Paris... to your loves!

Thans to Weronika breslau on LyricsTranslate.
Last edited by Romain on Tue Feb 15, 2022 5:21 pm, edited 1 time in total.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Stomy Bugsy - Mon papa à moi est un gangster - 1996
Hip Hop, Gangsta Rap, G-Funk

Album: Le calibre qu'il te faut (RYM: 2,7/5)

Wikipédia:
Gilles Duarte (French pronunciation: ​[ʒil dyaʁt]; born 21 May 1972), better known by his stage name Stomy Bugsy, is a French rapper and actor from Sarcelles, France.

Biography
Born of parents from the Republic of Cape Verde, Duarte helped found hip hop group Ministere AMER, however in 1996 he decided to launch his own solo career and influenced with West Coast and gangsta rap from California with the album Le Calibre qu'il te faut (The size that you need). He gained important success with the single "Mon papa à moi est un gangster". His recent release is Royalties in 2015, released online on April 27, 2015.

Duarte has also had several acting roles especially Ma 6-T va crack-er in 1997, 3 Zeros in 2001, Gomèz and Tavares in 2003, Nèg maron in 2005 and Anna Meyer, assistante de choc in 2006, Aliker in 2008 which he portrayed André Aliker, a Martinican Communist journalist in the 1930s, he later appeared in Bye Bye Blondie (2012), an adaptation of a book by Virginie Despentes.

Stage name
His origin of the stage name was known in the 1980s his second part of the name Bugsy is named after the mafia Bugsy Siegel

Mon papa à moi est un gangster
Mon papa à moi est un gangster
Il fait partie du Ministère A.M.E.R.
Mon papa à moi est un gangster
Mon papa à moi est un gangster
Il fait partie du Ministère A.M.E.R.
Sorti tout droit d'une ambiance folle
Mais tôt le matin, il m'amène à l'école
Fatigué de ses soirées agitées
Il me dit que c'est le studio, mais
C'est vrai qu'il travaille dur, dur
Mais pas quand il a du rouge à lèvres sur les habits, ça c'est sûr
Dès l'ascenseur, il fait des clins d'œil
Aux mamans accompagnant leurs enfants
Il est épatant, pleure même d'un œil
De tous les côtés, il n'arrête pas de mater
Comme ça, comme si il était recherché
Je ne suis jamais certain que c'est lui
Qui viendra me chercher à quatre heures et demie
Avec un style d'affranchi, une nouvelle petite amie
Mon papa c'est le plus fort
Quand il entend "pin-pon", il s'évapore
Pas besoin de le voir avec un revolver
Mon papa à moi est un gangster
Mon papa à moi est un gangster
Il fait partie du Ministère A.M.E.R.
Mon papa à moi est un gangster
Mon papa à moi est un gangster
Il fait partie du Ministère A.M.E.R.
Fils, tu sais la vie c'est pas un film
Ça dure pas une heure et demie, deux heures
Et puis on rembobine
Les gangsters ne font pas de vieux os
Si oui, derrière les barreaux
Choisis le droit chemin
C'est le seul par lequel on ne se fait jamais attraper
Retiens bien, le savoir est une arme
Maintenant tu sais
Le savoir est une arme, bébé
Ne l'oublie jamais
Mais des fois tu es blessé
Souvent tu es armé
Les dames d'la maternelle
De questions me martèlent
Elle n'arrêtent pas, pas
Sur toi, papa
Bébé, ton père a-t-il une fiancée?
A-t-il beaucoup de billets?
C'est vrai que c'est le plus stylé de tous les papounets
Mais pourquoi y'a ta tête sur les journaux
Comme un dangereux rappeur qui va devant les tribunaux
Quand tu dis la vérité, on veut toujours t'écraser
C'est eux, ces empafés, oh laisse pour le moment
Tu comprendras une fois plus grand
Et quand elles continueront toutes à t'énerver
Dis-leur "il me ramène chaque semaine une nouvelle belle-mère"
Mon papa à moi est un gangster
Mon papa à moi est un gangster
Il fait partie du Ministère A.M.E.R.
Mon papa à moi est un gangster
Mon papa à moi est un gangster
Il fait partie du Ministère A.M.E.R.
Il me donne des bons conseils
Y'en a pas de pareil
Comment placer une droite, gauche, crochet
Mais seulement quand le camarade a cherché
Ne jamais respecter quelqu'un qui ne te respecte pas
Il ne m'influence pas
Juste me guide sur mes pas
Il m'offre des bonbons, gâteaux, super héros, lapins
Et aussi des magnums, des fusils, des Uzis
Sa maman, ma grand-mère, le gronde
Et v'lah flah qu'il fuit en moins d'une seconde
Il ne fait pas ce qu'il veut
Tout ce qu'il peut
Entre la vie, la nuit, l'artiste mystère
Et pour son lal-Bi, le meilleur des pères
Mais fiston, y aura toujours des détracteurs
Qui te diront "ton papa à toi est un gangster"
Mon papa à moi est un gangster
Mon papa à moi est un gangster
Il fait partie du Ministère A.M.E.R.
Mon papa à moi est un gangster
Mon papa à moi est un gangster
Il fait partie du Ministère A.M.E.R.
Ouais, ouais, ouais, ouais
Un gangster
Mon papa à moi est un gangster
Un gangster
Mon papa est à moi
Mon papa est à moi
Il fait partie du Ministère
Mon papa est à moi
Un gangster
Il fait partie du Ministère
Mon papa, un gangster
Mon papa, un gangster
Mon papa, un gangster
D'amour
Mon papa à moi c'est un gangster
Mon papa à moi c'est un gangster
Mon papa à moi c'est un gangster
Mon papa à moi c'est un gangster
Attends, on va écouter, on va écouter
Regarde ce que Bilal dit
Son père c'est un gangster
Donc un bon gangster?
C'est pas moi, j'sais pas pourquoi il dit ça
J'le savais
Vous savez?
Je sais, j'vais me barrer
De la casa?
Avec qui?

My dad is a gangster
He is part of the bitter Ministry
Wouai, wouai, wouai, wouai
Straight out of a crazy mood
But early in the morning he takes me to school
Tired of her hectic evenings
He tells me it's the studio, but…
It's true that he works hard, hard,
But not when he has lipstick on his clothes, that's for sure !
From the elevator, he winks
To mothers accompanying their children.
He is amazing, even cries with one eye
From all sides, he does not stop mater
Like that, as if he was wanted
I'm never sure it's him.
Who will pick me up at four and a half hours
With a style of postage, a new girlfriend.
My dad is the strongest
When he hears "Pine, pon", he evaporates
No need to see him with a revolver
Son, you know, life isn't a movie.
It doesn't last an hour and a half, two hours. ,
And then we rewind
Gangsters don't make old bones if so, behind bars
Choose the right path,
It's the only one that never gets caught,
Remember, knowledge is a weapon
Now you know
Knowledge is a weapon, baby
Never forget it ! ! !
But sometimes you get hurt
Often you're armed
The ladies of kindergarten
Questions hammer me
She does not stop, not
Know you, dad.
Baby, does your dad have a girlfriend?
Does he have a lot of tickets?
It is true that it is the most stylish of all papunets
But why is your head in the papers
Like a dangerous rapper who goes to court
When you tell the truth, we always want to crush you
It's them, the stuffy ones. Oh leave for now
You'll understand once you grow up
And when they all keep pissing you off
Tell them: "he brings me a new mother-in-law every week "
He gives me good advice
There's no such thing.
How to place a right, left, hook
But only when the comrade sought
"Never respect someone who doesn't respect you" it doesn't influence me
Just guide me on my steps
He offers me sweets, cakes, super Heroes, rabbits
And also magnums, rifles, Uzis
His mom, my grandmother, scolds him
And V'lah flah ! that he's running away in less than a second
He doesn't do what he wants
All he can
Between life, night. The mystery artist
And for his lal-Bi, the best of fathers
But Son, there will always be detractors
Who will tell you: your dad is a gangster
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Stupeflip - Stup monastère - 2005
Hip Hop, Rap Rock, Experimental Hip Hop

Album: Stup Religion (RYM: 3,54/5)

Wikipédia:
Stupeflip (French: [sty.pɛ.flip]) is a French hip hop band formed in 2000, composed of Julien Barthélémy, Stéphane Bellenger and Jean-Paul Michel. Their style can be described as a mix of hip hop, punk rock and synthpop.

Stupeflip members are known by their stage personas: Julien Barthélémy as King Ju and Pop Hip, Stéphane Bellenger as Cadillac and Jean-Paul Michel as MC Saló. These characters and the band itself are part of an elaborate fictional universe featuring mysterious concepts such as "L'Ère du Stup" ("The Stup Era"), "La Menuiserie" ("The Carpentry"), "Le Mystère au chocolat" ("The Chocolate Mystery"), etc.

The band rose to fame with its single "Je Fume Pu D'Shit" in 2003. After having released their two first albums on BMG, the label decided to stop their contract in 2006 after the poor sales of Stup Religion. After a hiatus, the band then began auto-producing themselves, releasing The Hypnoflip Invasion in 2011. For their fourth album, Stup Virus, Stupeflip began soliciting financial support on the crowdfunding platform Ulule. The crowdfunding campaign was a huge success, with the original stretch goal of 40 000€ being raised in just two hours. The campaign ended with a total of 427 972€, making it the biggest crowdfunding effort for a band in Europe. Stup Virus was released on March 3 2017.
[Bienvenue au monastère de Stup. Tu es ici chez toi. Les seules choses qui dorénavant te seront interdites sont : faire l'amour et gagner de l'argent.]

[Refrain] X2
Des fous organisés se sont alliés au cimetière
L'ouest entre en guerre et les squelettes sortent de terre
Pour toi mon garçon plus qu'une seule solution
Stup Monastère et ses soixante prières

[Couplet 1 - King Ju]
Le crou, un million de mecs pas répertoriés
Une odeur puissante comme la viande avariée
Un obstacle, un phénomène tentaculaire
Ma rythmique te plaque j'ai mangé de la poussière
Mais les gens du stup avancent, obnubilés
Sud, Est, Ouest, tout le monde est concerné
Les adeptes en transe sont murés dans le silence
Un excès de souffrance dans les villes de France
Un casse-tête, une religion interdite
La pointe de l'iceberg Polet et Stupeflip
Les codes sociaux et les valeurs sont à revoir
Les annexions se font toujours dans le noir
Et c'est la panique, les mecs se frappent à coup de cric
Pour le pouvoir, pour une femme ou pour du fric
Les annexions ne sont pas encore finies
J'scierai la branche sur laquelle je suis assis

[Refrain] X2
Des fous organisés se sont alliés au cimetière
L'ouest entre en guerre et les squelettes sortent de terre
Pour toi mon garçon plus qu'une seule solution
Stup Monastère et ses soixante prières

[Couplet 2 - King Ju]
Arrête de crier, j'ai les oreilles qui sifflent
Arrête de pleurer quand les animaux souffrent
Tu vois bien, le Crou avance masqué
Les anciens gentils sont devenus détraqués
J'ai vu les fans du Stup, la flamme dans leurs yeux
J'ai vu un être humain qui essayait d'être heureux
J'ai vu la région Sud écrasée sous le soleil
J'ai vu les moines du Stup prier dans leur sommeil
J'entends les guerriers qui avancent
Des cris dans la nuit
Les autistes pleurent et le silence fait du bruit
L'ère du Stup, pas si humoristique
Donne moi de l'argent, du courage et du plastique
Les humains sont amers
La musique s'amplifie
Les Argémiones ont attaqué par défi
Les régions fédérées, créées dans la lumière
Le monastère du Stup et ses soixante prières

[Refrain] X2
Des fous organisés se sont alliés au cimetière
L'ouest entre en guerre et les squelettes sortent de terre
Pour toi mon garçon plus qu'une seule solution
Stup Monastère et ses soixante prières

[Welcome to Stup Monastery. You are here at home. The only things forbidden now are : having sex and earning money.]

[Chorus x2]
Organized madmen allied with the cemetery
The West is joining a war and skeletons are emerging
For you, my boy, there's only one solution
Stup Monastery and its sixty prayers

[Verse 1]
The Crou1, one million non identified guys
A strong smell like rotten meat
An obstacle, a sprawling phenomenon
My rythmic tackles you, I ate dust
But people of the Stup are going ahead, obsessed
South, East, West,2 everybody's concerned
Disciples in trance are withdrawn into silence
An excess of pain in the cities of France
A brain-teaser, a forbidden religion
The summit of the iceberg Polet3 and Stupeflip
Social norms and values must be reviewed
Annexations are always made in the dark
And then it's chaos, guys come to blows
For power, for a woman or for money
Annexations aren't finished yet
I'll shoot myself in the foot

[Chorus x2]
Organized madmen allied with the cemetery
The West is joining a war and skeletons are emerging
For you, my boy, there's only one solution
Stup Monastery and its sixty prayers

[Verse 2]
Stop screaming, my ears are burning
Stop crying when animals suffer
You see, the Crou is going masked
The ancient good guys are now become mad
I saw the Stup fans, the flame in their eyes
I saw a human trying to be happy
I saw the South region burning under the sun
I saw the Stup monks praying while sleeping
I hear the fighters going forward
Cries in the night
Autistics are crying and the silence is noisy
The Stup era, not that humorous
Give me money, courage and plastic
The humans are bitter
The music is amplifying
The Argémiones4 attacked out of defiance
The federated regions, created in light
The Stup monastery and its sixty prayers

[Chorus x2]
Organized madmen allied with the cemetery
The west is joining a war and skeletons are emerging
For you, my boy, there's only one solution
Stup Monastery and its sixty prayers


1.Crou is the nickname of Stupeflip, it's the french way to write "crew".
2.The regions of Stupeflip's universe.
3.Fabien Polet was the fictional spokesperson of the band.
4.The Argémiones are the fictional inhabitants of the West region. They're very violent, and they're the ones who started the war mentioned in the chorus.
Thanks to MichelBaie on LyricsTranslate.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

France Gall - La chanson d'une terrienne (partout, je suis chez moi) - 1976
Chanson, pop

Album: France Gall ( RYM: 3,38/5)

Wikipédia;
Isabelle Geneviève Marie Anne Gall (French pronunciation: ​[izabɛl ʒənvjɛv maʁi an gal]; 9 October 1947 – 7 January 2018), known professionally as France Gall, was a French yé-yé singer. In 1965, aged 17, she won the Eurovision Song Contest for Luxembourg. Between 1973 and 1992, she collaborated with singer-songwriter Michel Berger.

Too much...
https://en.wikipedia.org/wiki/France_Gall
Partout je suis chez moi
Du pays des tropiques aux déserts des grands froids
Tout au bout de l'Afrique ou à Milford, Nebraska
Je suis chez moi
Partout je suis chez moi
Tous ces gens qui me parlent, ces gens que je vois
Me ressemblent étrangement
Ils pourraient être moi ou bien toi

Tous les soleils à l'horizon
Nous font faire les mêmes sourires
Il n'y a vraiment pas de raison
De se faire la guerre
Toutes les étoiles de l'horizon
Nous donnent envie d'être immortels
Et de comprendre la raison de l'univers
Et on a tous besoin d'être aimés

Partout je suis chez moi
De l'Andalousie au bout du Minnesota
De la Californie, du Japon au Kenya
Je suis chez moi
Partout je suis chez moi
Qu'on me parle l'anglais, l'hébreu ou le chinois
C'est vrai que tous les mots je ne les comprends pas
C'est mieux que ça

Terre, tu es ma maison
Terre, tu es ma maison
Mon jardin, tes prairies, tous tes océans
Les montagnes, mes abris, la mer, mon étang
Terre, tu es ma maison
Terre, tu es ma maison

J'ai été une petite fille parmi tant d'autres
Pas un garçon manqué
Il y en a eu des milliers et des milliers d'autres
Qui comme moi sont nés à Paris
Mais quelques fois un soir à la Concorde
Je m'arrête une seconde
Pour remercier le hasard qui m'apporte
Les paysages de la plus belle ville du monde

Mais chacun son histoire
Chacun ses endroits
Et ses souvenirs gravés dans sa mémoire
Chacun sa musique
Chacun ses images
Gaies ou nostalgiques
Chacun ses voyages
Chacun ses voyages

Tous les soleils à l'horizon
Nous font faire les mêmes sourires
Il n'y a vraiment pas de raison
De se faire la guerre
Toutes les étoiles de l'horizon
Nous donnent envie d'être immortels
Et de comprendre la raison de l'univers
Et on a tous besoin d'aimer

Partout je suis chez moi
Vous comprenez la terre
La terre est mon domaine
Et mes milliards d'amis me suffisent à peine
Je suis chez moi
Partout je suis chez moi
Du pays des tropiques aux déserts des grands froids
Et même au bout du monde j'ai mon amour en moi
Je suis chez moi

My home is everywhere
From tropical countries, to deserts and to extreme cold
Everywhere, from Africa or Milford in Nebraska
I am at home
My home is everywhere
All these people who talk to me, these people I see
Look strangely like me
They could be me, or even you

Every sun over the horizon
Make us smile in the same way
There's really no reason
To wage war
All the stars on the horizon
Make us want to be immortal
And to understand the sense of universe
And we all need to be loved

My home is everywhere
From Andalusia to the ends of Minnesota
From California, from Japan to Kenya
I am at home
My home is everywhere
Whether they talk to me in English, Hebrew or Chinese
It's true that I don't understand all those words
It's better than that

Earth, you are my home
Earth, you are my home
My garden - your meadows, all your oceans
The mountains - my shelters, the sea - my pond
Earth, you are my home
Earth, you are my home

I've been a little girl among many others
Not a guy's girl
There have been thousands and thousands of others
Who were born in Paris like me
But sometimes, at evening at the Concorde
I stop for a second
To thank the chance that brings me
The landscapes of the most beautiful city in the world

But everybody has his own story
Everybody has his own places
And his own souvenirs etched in his memory
Everybody has his own music
Everybody has his own pictures
Happy or nostalgic ones
Everybody has his own journey
Everybody has his own journey

Every sun over the horizon
Make us smile in the same way
There's really no reason
To wage war
All the stars on the horizon
Make us want to be immortal
And to understand the sense of universe
And we all need to be loved

My home is everywhere
You understand, the earth
The earth is my land
And my billions of friends are barely enough
I'm at home
My home is everywhere
From tropical countries, to deserts and to extreme cold
And even at the end of the world I have my love in me
I'am at home

Thanks to Weronika.breslau on LyricsTranslate.
Last edited by Romain on Sun Feb 20, 2022 6:28 pm, edited 1 time in total.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Dalida (& Alain Delon) - Paroles, paroles... - 1973
Chanson

Album: Julien (RYM:


Wikipédia:
Iolanda Cristina Gigliotti (Italian: [joˈlanda kriˈstiːna dʒiʎˈʎɔtti]; 17 January 1933 – 3 May 1987), professionally known as Dalida, was an Italian-Egyptian and French singer and actress, born in Egypt to Italian parents. Her diverse repertoire and heartfelt interpretations of both sentimental ballads and pop music brought her adoration by mass audiences and by politicians and intellectuals alike.

After winning the title of Miss Egypt in 1954, she moved to Paris and in 1956 experienced overnight success with the song "Bambino". This was followed by successful recordings; "Gondolier", "Come prima", "Am Tag als der Regen kam", "Les enfants du Pirée" and "Itsi bitsi petit bikini", which marked the first years of her career and became pop standards. In the early 1960s, Dalida was already household name in francophonie and the leading singer in Europe, and in 1964 she was awarded the first platinum disc in history. Dalida lined up new successes; "La danse de Zorba", "Il silenzio", "Bang bang", "Ciao amore ciao" and "Le temps des fleurs", which she sang at concerts around the world, spending two-thirds of each year on tour.

In 1970, Dalida became independent by founding her own record label, and continued success was guaranteed with a song "Darla dirladada". It was followed with some of the most notable French songs, "Paroles, paroles", "Je suis malade", "Gigi l'amoroso" and "Il venait d'avoir 18 ans". In the second half of the 1970s, Dalida brought disco to Europe with the song "J'attendrai" and established herself as the Reine du Disco ("Disco Queen" in French) with the songs "Besame mucho", "Génération 78" and "Laissez-moi danser". At the same time in the Middle East she leads with the raï megahits "Salma Ya Salama" and "Helwa ya baladi", the latter becoming the unofficial anthem of Egypt.

Through the 1980s, Dalida enjoyed the status of a diva, carrying her historical show from the Palais des Sports across five world continents with the songs "Comme disait Mistinguett" and "Gigi in Paradisco". A new set of problems in her personal life slowed Dalida’s career, reflected in some of her most powerful ballads, "Mourir sur scène" and "Pour en arriver là", which became her signature songs. In the 1986 film The Sixth Day, Dalida achieved the long-awaited crown of her acting career. Less than a year later, overwhelmed with personal tragedies, she committed suicide four days after her last concert.

Considered an icon during her lifetime, her death led to an image as a tragic diva and renowned singer. She is the only performer in the francophone world with success in multiple genres. Dalida is the best-selling and the most award-winning French performer. She holds the world record for the song with the most weeks at the top of the music chart. Selling 170 million singles and albums, she received more than 70 gold records and was the first singer to receive platinum and diamond discs.

And a lot more
https://en.wikipedia.org/wiki/Dalida

Song:
"Paroles, paroles" (French: [paʁɔl paʁɔl]; "Words, words") is a song by French singer Dalida featuring French actor Alain Delon. It was released on 17 January 1973 as the lead single from her upcoming album Julien (1973). Lyrics describe the conversation of a man offering a woman caramels, bonbons et chocolat followed with shower of compliments, to what she says they mean nothing to her because they are just paroles – empty words. The song achieved big success in France and internationally, especially in Japan and Mexico, becoming one of the most recognizable French songs of all time. The first video clip was released in 2019, over 46 years after the songs's release.

"Paroles, paroles" was composed by Gianni Ferrio and its lyrics written by Michaële. It is a cover of an Italian duet by singer Mina and Alberto Lupo. Dalida's release sparked numerous covers in various languages, mostly thanks to her international career. The song was an unavoidable part of her repertoire, carrying her on tours in Europe, Japan, Latin America, the Arab world and the Francophone countries of Africa. Today it is regarded as Dalida's signature song and one of the classics of French chanson. While the expression paroles, paroles entered everyday language, immediately upon its release it was picked up by French politicians, and is ever since "used to evoke those who make promises and never hold them".
– C'est étrange, je ne sais pas ce qui m'arrive ce soir. Je te regarde comme pour la première fois.
– Encore des mots, toujours des mots,
les mêmes mots…
– Je ne sais plus comment te dire…
– Rien que des mots…
– … mais tu es cette belle histoire d'amour
que je ne cesserai jamais de lire.
– Des mots faciles, des mots fragiles,
c'était trop beau.
– Tu es d'hier et de demain…
– Bien trop beau.
– … de toujours, ma seule vérité.
– Mais c'est fini le temps des rêves,
les souvenirs se fanent aussi
quand on les oublie.

– Tu es comme le vent qui fait chanter les violons
et emporte au loin le parfum des roses.
– Caramels, bonbons et chocolats…
– Par moments, je ne te comprends pas.
– Merci, pas pour moi, mais
tu peux bien les offrir à une autre
qui aime le vent et le parfum des roses.
Moi, les mots tendres, enrobés de douceur,
se posent sur ma bouche,
mais jamais sur mon cœur.
– Une parole encore.
– Paroles, paroles, paroles…
– Écoute-moi.
– Paroles, paroles, paroles…
– Je t'en prie.
– Paroles, paroles, paroles…
– Je te jure.
– Paroles, paroles, paroles, paroles, paroles,
encore des paroles que tu sèmes au vent.

– Voilà mon destin : te parler…
te parler comme la première fois.
– Encore des mots, toujours des mots,
les mêmes mots…
– Comme j'aimerais que tu me comprennes…
– Rien que des mots…
– … que tu m'écoutes au moins une fois.
– Des mots magiques, des mots tactiques
qui sonnent faux.
– Tu es mon rêve défendu…
– Oui, tellement faux.
– … mon seul tourment et mon unique espérance.
– Rien ne t'arrête quand tu commences.
Si tu savais comme j'ai envie d'un peu de silence…
– Tu es pour moi la seule musique
qui fait danser les étoiles sur les dunes.
– Caramels, bonbons et chocolats…
– Si tu n'existais pas déjà, je t'inventerais.
– Merci, pas pour moi, mais
tu peux bien les ouvrir à une autre
qui aime les étoiles sur les dunes.
Moi, les mots tendres, enrobés de douceur,
se posent sur ma bouche,
mais jamais sur mon cœur.

– Encore un mot, juste une parole…
– Paroles, paroles, paroles…
– Écoute-moi.
– Paroles, paroles, paroles…
– Je t'en prie.
– Paroles, paroles, paroles…
– Je te jure.
– Paroles, paroles, paroles, paroles, paroles,
encore des paroles que tu sèmes au vent.
– Que tu es belle !
– Paroles, paroles, paroles…
– Que tu es belle !
– Paroles, paroles, paroles…
– Que tu es belle !
– Paroles, paroles, paroles…
– Que tu es belle !
– Paroles, paroles, paroles, paroles, paroles,
encore des paroles que tu sèmes au vent…

(It's strange,
I don't know what will happen to me tonight.
I look at you as though it were the first time (that I saw you).)
Again, words, always words,
the same words,
(I don't know how else to talk to you,)
Nothing but words.
(but you are this beautiful love story
that I will never stop reading.)

Easy words, fragile words.
It was too beautiful,
(You are of yesterday and of tomorrow,)
much too beautiful.
(always my only truth.)
But the time for dreams is finished;
the memories fade as well
when we forget them.
(You are like the wind that makes the violins play
and takes away (with you) the scent of roses.)

Toffees, candy, and chocolates;
(At times I can't understand you.)
(No) thanks, not for me,
but you can offer them to another
who likes the wind and the scent of roses.
(For) me, the tender words coated in sweetness
stay in my mouth but never in my heart.
(A(nother) word again.)

Words, words, words...
(Listen to me.)
Words, words, words...
(Please.)
Words, words, words...
(I swear to you.)
Words, words, words, words, words,
again these words that you sow in the wind.

(Here is my destiny talking to you,
talking to you as though for the first time.)
Again, words, always words,
the same words,
(How I would like for you to understand me,)
nothing but words.
(for you to listen to me at least once.)

Magical words, tactical words
that sound fake.
(You are my forbidden dream,)
Yes, so fake.
(my only torment and my only hope.)
Nothing stops you when you start.
If you only knew how I want
some silence...
(To me, you are the only music
that makes the stars dance on the dunes.)

Toffees, candy, and chocolates:
(If you didn't already exist, I would invent you.)
(No) thanks, not for me,
but you can open them for another
who likes the stars on the dunes.
(For) me, the tender words coated in sweetness
stay in my mouth but never in my heart.
(Again, a word, just a word.)

Words, words, words...
(Listen to me.)
Words, words, words...
(Please.)
Words, words, words...
(I swear to you.)
Words, words, words, words, words,
again these words that you sow in the wind.

(How beautiful you are!)
Words, words, words...
(How beautiful you are!)
Words, words, words...
(How beautiful you are!)
Words, words, words...
(How beautiful you are!)
Words, words, words, words, words,
again these words that you sow in the wind.

Thanks to mszed on LyricsTranslate.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Éric Tanguy - Stabat Mater - 2013 - Classical

Wikipédia:
Éric Tanguy is a French composer born on January 27, 1968 in Caen.
Éric Tanguy studied composition with Horatiu Radulescu (from 1985 to 1988), then at the Conservatoire National Supérieur de Musique de Paris in the class of Ivo Malec. He also studied with Gérard Grisey, and obtained a first prize in composition in 19911. He was a resident at the Académie de France in Rome (1993-1994), and was Henri Dutilleux's special guest at the Tanglewood Music Centre. He was composer-in-residence in Champagne-Ardenne (1995), in Lille (1995), with the Orchestre de Bretagne (2001 to 2003), and at the Festival des Arcs (2011). He was also the guest composer at the Holstebro Festival in Denmark in 2012, at the Kone Foundation (Saari Residence) in Finland in 2015, and composer in residence at the Open Chamber Music Festival in Prussia Cove, Great Britain (at the invitation of Steven Isserlis).

In August 1999, shortly after the eclipse, he met Rostropovich in Reims, who asked him to write a cello concerto for him.

His works are published by Éditions Salabert. The catalog includes more than ninety pieces (solo, vocal pieces, concertos, symphonies) which are included in the repertoire of major performers.

Stabat Mater?
The Stabat Mater is a 13th-century Christian hymn to Mary, which portrays her suffering as Jesus Christ's mother during his crucifixion. Its author may be either the Franciscan friar Jacopone da Todi or Pope Innocent III. The title comes from its first line, Stabat Mater dolorosa, which means "the sorrowful mother was standing".

The hymn is sung at the liturgy on the memorial of Our Lady of Sorrows. The Stabat Mater has been set to music by many Western composers.

he Stabat Mater has often been ascribed to Jacopone da Todi, OFM (ca. 1230–1306), but this has been strongly challenged by the discovery of the earliest notated copy of the Stabat Mater in a 13th-century gradual belonging to the Dominican nuns in Bologna (Museo Civico Medievale MS 518, fo. 200v-04r).

The Stabat Mater was well known by the end of the 14th century and Georgius Stella wrote of its use in 1388, while other historians note its use later in the same century. In Provence, about 1399, it was used during the nine days' processions.

As a liturgical sequence, the Stabat Mater was suppressed, along with hundreds of other sequences, by the Council of Trent, but restored to the missal by Pope Benedict XIII in 1727 for the Feast of the Seven Dolours of the Blessed Virgin Mary.

Eric Tanguy’s piece is in memory of Vivaldi’s Stabat Mater, which he heard as a child. This piece is for him one of the most beautiful works there is, That is why Tanguy wanted to write a Stabat Mater. ‘What fascinated me was to find the point of contact between the cello and the chorus, the difficulty that the chorus is singing a text, whereas the cello has none,’ he indicates. ‘The cello must echo the emotional content of the poem without giving the impression of mumbling a text that it could not pronounce. The work is found at the heart of the disc and at the heart of suffering: that of a mother who has lost her child.’
The composition was made for the Easter Festival (Aix en Provence), April 25, 2014, commissioned by Sequenza 9.3.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Cassiya - Séparation - 1998
île Maurice, Mauritian créole

Wikipédia (deepL translate)
Cassiya is a Mauritian music group formed in December 1992. Its name comes from Cassis, a district of Port-Louis, the capital of Mauritius, where the founders of the group, who were first gathered under the name of "Zenfan Cassis", were originally from. Cassiya plays mainly sega, the traditional music of the Mascarene Islands.

After joining the group "Zenfan Cassis" in 1987, bassist Désiré François and his friend Alain Lafleur decided to found a new, more professional group1. They were joined by other members of "Zenfan Cassis": Alain Ramanisum (keyboard), Gérard Louis (musical arrangement), Eddy Armel (vocals), Jallil Auckbaraulee (drums) but also by Dominique Isidore, Désiré François' cousin. The latter became the main singer with Alain Lafleur who also lent his voice. The group released its first album Séparation in 1993 and took the name "Cassiya". It was a huge success3 and in 1994, it became "Record of the Year" with the title "Djouni Djouna", then in 1995 with the title "Ici cote nou été". In 2003, they were classified as "Disque d'Or" in Réunion.

Following their success in their country, the group performed in Reunion Island, where they were very successful, in Africa, in Europe, notably at the Zenith in Paris and the Olympia in 19993, and in Australia.

Among their most popular songs, the members of the group often quote Séparation, Rêve nou ancêtre, Ici cote nou été and Marlène.

Séga:
Sega (French: Séga) is one of the major music genres of Mauritius and Réunion. The other genres common in Mauritius are its fusion genre Seggae and Bhojpuri songs while in Réunion there is also seggae and maloya. It has origins in the music of slaves as well as their descendants Mauritian Creole people and is usually sung in Mauritian Creole or Réunionese Creole. Sega is also popular on the islands of Agaléga and Rodrigues as well as Seychelles, though the music and dances differ and it is sung in these islands' respective creole languages. In the past, the Sega music was made only with traditional instruments like ravanne and triangle, it was sung to protest against injustices in the Mauritian society, this particular version of the Sega is known as Santé engagé. Other types of Sega (Traditional Mauritian Sega, Sega tambour Chagos, Sega tambour of Rodrigues Island) have been included in UNESCO's Intangible Cultural Heritage lists.

Mauritien creole
Mauritian Creole or Morisien or formerly Morisyen (Morisyen: kreol morisien [kʁeol moʁisjɛ̃, -moʁiʃɛ̃]) is a French-based creole language spoken in Mauritius. In addition to the French base of the language, there are also a number of words from English and from the many African and Asian languages that have been spoken on the island.

Mauritian Creole is the lingua franca and de facto language of Mauritius, formerly a British colony, which has kept both English and French as its core languages, even though English is used mostly for administration and educational purposes and French for media and as a second language for speaking.

Mauritians tend to speak Mauritian Creole at home and French in the workplace. French and English are spoken in schools. Though most Mauritians are of a mixed race. Mauritian Creole has gradually replaced the ancestral languages as a mother tongue. Over generations, Mauritians of French, African, Indian European and Chinese descents created the current Creole language with Mauritius being the meeting place of peoples from different continents who together founded a nation with its own culture and history. Today, around 1.3 million people speak the language.

Ki sana vrai meme ki pa ti kontent
Pou vivre ensemble dans ene la case
Et nous mama et nous papa
Zot tous ensemble
Ene seul famille
Combien mama et nou papa separation
Vos regret zenfant dan leker
Ene par ici galoupe par la ba malere
Trouve ene la chiette mange
Pou zot vent plain pou kapave marcher
Kapave kose
Oui pou zot vent plain malere
Pou kapave rire
Pou kapave sante
Ene conseil ki mo donne zenfant
Ki dan sa problem la
L'imporance reconessance
Pou nou la vie vine pli facile malere
Ensemble nou tou
La me dan la me
Nou prire bon jeu
Donne nou courage
Oui ensemble nou tou mo frere
La me dan la me
Nou prier bonjeu
Dan la vie ene zom ene fam
Ene fam bizen ena ene seul marie
Ene zom aussi bizen ena en seul fam
Pou dans la vie zenfant
Pa perdi racine
Pa perdi sime
Dan la venir
Non pa perdi racine
Pa perdi sime
Dan la venir
Parce que zordi mon pe sante
Dan mo leker ena boucoup regret
Mama papa fin separe
Aster nou mama
Li a pe soufere
Li encore pe soufere
Pou so zenfant
Oui, li a pe soufere
Li encore pe soufere
Pou so zenfant
Wololale o lo la le o la li le
La la la la la la
Wo ho
Wololale wo lo la le o la li le
Ki sana vrai meme ki pa ti kontent
Pou vivre ensemble dans ene la case
Et nous mama et nous papa
Zot tous ensemble
Ene seul famille
Combien mama et nou papa separation
Vos regret zenfant dan leker
Ene par ici galoupe par la ba malere
Trouve ene la chiette mange
Pou zot vent plain pou kapave marcher
Kapave kose
Oui pou zot vent plain malere
Pou kapave rire
Pou kapave sante
Ene conseil ki mo donne zenfant
Ki dan sa problem la
L'imporance reconessance
Pou nou la vie vine pli facile malere
Ensemble nou tou
La me dan la me
Nou prire bon jeu
Donne nou courage
Oui ensemble nou tou mo frere
La me dan la me
Nou prier bonjeu
Dan la vie ene zom ene fam
Ene fam bizen ena ene seul marie
Ene zom aussi bizen ena en seul fam
Pou dans la vie zenfant
Pa perdi racine
Pa perdi sime
Dan la venir
Parce que zordi mon pe sante
Dan mo leker ena boucoup regret
Mama papa fin separe
Aster nou mama
Li a pe soufere
Li encore pe soufere
Pou so zenfant
Oui, li a pe soufere
Li encore pe soufere
Pou so zenfant
Wololale o lo la le o la li le
La la la la la la
Wo ho
Wololale wo lo la le o la li le
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Éléphant - Collective mon amour - 2013
Pop, chanson

Wikipédia:
Elephant was a French pop band. Formed in 2009, it was composed of Lisa Wisznia and François Villevieille. The name of the group was inspired by the initials of the first names of the two members. The group signed in June 2012 with the Columbia/Sony Music label. After two albums, Elephant broke up in 2017.

Elephant is a musical duo formed in 2009 and composed of Lisa Wisznia and François Villevieille. The name of the group is inspired by the initials of the first names of the two members. Lisa Wisznia comes from the theater while François Villevieille is a violinist. After their meeting, they feel like singing together.

In January 2012, the duo released a first extended play Rien. The group performs several opening acts for Patrick Bruel (Concert in Paris-Bercy June 22, 2013), Benjamin Biolay or Élie Semoun. Lisa Wisznia meets Biolay and passes him the group's record. Biolay then hypothesizes for a first date in the provinces. The opening act was in Lyon when Biolay played at the Transbordeur in Lyon. Wisnia knew Semoun after having participated in a DVD of the Petites annonces. Semoun wants for his show a musical first part, the duo will perform a week at the Trianon in Paris.

In June 2012, the group participates in the first edition of the Mathurin Live Contest of the Parisian hotel Le Mathurin. With four other groups, it plays in front of a jury of nine professionals. Designated winner, the duo receives a production grant worth 5,000 euros. Moreover, that same month, the duo signed with the Columbia/Sony Music label.

Their first album Collective mon amour was released on May 13, 2013 and the duo promoted it on many media: Taratata, CAVous , France Inter, France Bleu (Private Concert, Fête de la Musique at the Olympia, broadcasts)...

François Villevieille wrote and composed the song Les Espaces et les sentiments on Vanessa Paradis' album Love Songs, released in 2013.

De ma fenêtre je vois,
Des cages autour de moi
Allongé pour mieux voir,
On se sent mieux dans le noir

J'ai pas de compte à rendre, à...
Ces gens qui passent commandent
Je vais peindre ta vie en blonde,
La lumière me parait trop sombre

Je pense à l'hiver sans toi,
Collective mon amour
Sentir glisser les heures

Refrain : (×2)
Je sais que c'est toi c'est pas ton monde
Qui rêve de vivre un autre monde
Croire en toi qui n'est pas si sombre
Je sais que c'est toi c'est pas ton monde

De ma fenêtre je vois,
Tes yeux bleus posés là
De penser dans le noir,
Me rêver autre part

Frôler le bout du monde, sans...
Voir passer les gens qui s'effondrent
Je vais peindre ta vie en blonde,
La lumière va paraitre sombre

Je pense à l'hiver sans toi,
Collective mon amour
Sentir glisser les heures

Refrain (×3)

From my window I see,
Cages all around me
Lying down to see better,
We feel better in the dark

I don't owe anything to...
Those people who place their orders
I will paint your life blonde,
The light seems too dark to me

I think of the winter without you here
Collective, my love,
Feeling the hours slip by

[Chorus] x2
I know that it's you, it's not your world,
Who dreams of living in another world
To believe in yourself, who isn't so somber,
I know that it's you, it's not your world

From my window I see,
Your blue eyes looking that way
Thinking in the dark,
Dreaming myself far away

Brushing past the edge of the world without...
Seeing the people who fall down pass us by
I will paint your life blonde,
The light will seem dark

I think of the winter without you here
Collective, my love,
Feeling the hours slip by

[Chorus] x3
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Axelle Red & Renaud - Manhattan Kaboul - 2002
Chanson, Folk, Rock

Axelle red wikipédia:
Fabienne Demal (born 15 February 1968), better known by her stage name Axelle Red, is a Belgian singer-songwriter. She has released 11 albums, including Sans plus attendre, À Tâtons, Toujours Moi and Jardin Secret; she is best known for her 1993 single "Sensualité", a hit in France in 1994.
https://en.wikipedia.org/wiki/Axelle_Red

Renaud Wikipédia:
Renaud Pierre Manuel Séchan (French pronunciation: ​[ʁəno pjɛʁ manɥɛl seʃɑ̃]), known as Renaud (French: [ʁəno] (audio speaker iconlisten)), born 11 May 1952, is a popular French singer, songwriter and actor. His characteristically 'broken' voice makes for a very distinctive vocal style. Several of his songs are popular classics in France, including the sea tale "Dès que le vent soufflera", the irreverent "Laisse béton", the ballad "Morgane de toi" and the nostalgic "Mistral gagnant". However, with the exception of a recording of "Miss Maggie" in English and a franglais recording of "It is not because you are", his work is little known outside the French-speaking world.
https://en.wikipedia.org/wiki/Renaud

The song:
"Manhattan-Kaboul" is a French song written by Renaud and composed by Jean-Pierre Bucolo, sung by Renaud in duo with Axelle Red, from the album Boucan d'enfer (2002). It was written in the aftermath of the incidents of September 11, 2001 and the War in Afghanistan. The song was very successful in France and Belgium, becoming a top five hit in these countries. As of August 2014, it is the 67th best-selling single of the 21st century in France, with 355,000 units sold.

In the song, two victims of the events of 2001 sing about their situations and the causes of their death. Renaud sings as a young Puerto-Rican who works in the World Trade Center in New York City, destroyed on September 11. Axelle Red sings as a young Afghan girl killed during the attack by the coalition forces during the autumn of 2001.

The song utilizes symbolism and imagery, with a subtle religious undertone throughout. Though the song is about terrorism and its repercussions, it does not directly mention terrorism nor deal explicitly with political issues, focusing instead on civilian suffering caused by the events.

There are many religious images used throughout the song, such as "l'autel" (the altar), "les dieux" (the gods) and "les religions." The song concludes that religions, wars, and countries victimize ordinary people for their own purposes.

Video clip: https://www.youtube.com/watch?v=mSGTxd1ZvaI


[Renaud]
Petit Portoricain, bien intégré quasiment New-yorkais
Dans mon building tout de verre et d’acier
Je prends mon job, un rail de coke, un café

[Axelle Red]
Petite fille afghane, de l’autre côté de la terre
Jamais entendu parler de Manhattan
Mon quotidien c’est la misère et la guerre

(refrain)
[R] Deux étrangers au bout du monde, si différents
[AR] Deux inconnus, deux anonymes, mais pourtant
[ens.] Pulvérisés sur l’autel de la violence éternelle

[R] Un 747 s’est explosé dans mes fenêtres
[AR] Mon ciel si bleu est devenu orage
Lorsque les bombes ont rasé mon village

(refrain)

[R] So long, adieu mon rêve américain
[AR] Moi, plus jamais esclave des chiens
[R] Ils t'imposaient l’Islam des tyrans
[ens.] Ceux là ont-ils jamais lu le Coran ?

[Renaud]
Suis redev’nu poussière
Je s’rai pas maître de l’univers
Ce pays que j’aimais tellement serait-il
Finalement colosse aux pieds d’argile ?

[Axelle Red]
Les dieux, les religions
Les guerres de civilisation
Les armes, les drapeaux, les patries, les nations
Font toujours de nous de la chair à canon

(refrain x2)

[Renaud]
Little Puerto Rican, well assimilated, practically a New Yorker
In my glass and steel building
I do my job, a line of coke, have a coffee

[Axelle Red]
A little Afghan girl, from the other side of the world
Never heard of Manhattan
My daily existence is poverty and war

(refrain)Two strangers from opposite ends of the earth, so different
Two nobodies, unknowns, and yet
Crushed on the altar of eternal violence

A 747 exploded in my windows
My so blue sky was filled with storms
When the bombs destroyed my village

So long my American dream
I'm no longer the slave of dogs
They imposed the Islam of tyrants on you
Have they ever read the Koran?

I have returned to dust
I will never be master of the universe
This country I loved so much could it be
Just a giant with feet of clay?

Gods and religions,
The wars of civilisations.
Weapons, flags, homelands and nations
Always turn us into cannon fodder

(refrain x 2)

Thanks to Anne Greaves on LyricsTranslate.
Last edited by Romain on Mon Sep 25, 2023 7:21 am, edited 1 time in total.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Les chaussettes noires - Daniela - 1961
Rock & Roll, Rock, Yé-yé

Album: 100% Rock (RYM: 3,36/5)

Wikipédia:
Les Chaussettes Noires (English: 'The Black Socks') were a French rock and roll band founded in 1960, that was among the pioneer of rock music in France, together with Les Chats sauvages.

It was originally composed of Claude Moine, a.k.a. Eddy Mitchell (vocals), William Benaïm (guitar solo), Tony D'Arpa (rhythm guitar), Aldo Martinez (bass guitar), and Jean-Pierre Chichportich (drums)

Les Chaussettes Noires signed in late 1960 with Barclay Records, under which the band recorded a score of successful gramophone records, including: "Be-Bop-A-Lula" (1960), "Tu parles trop" (1960), "Daniela" (1961) — which remains their biggest hit, "Eddie Sois Bon" (1961) — a French adaptation of Chuck Berry's 1958 song "Johnny B. Goode", "Hey Pony" (1961), "Madame Madam" (1961), "Dactylo rock" (1961), "La leçon de twist" (1962), "Le twist du canotier" (1962) with Maurice Chevalier, and "Parce que tu sais". They also recorded a cover version of Ernie Maresca's self-penned 1962 hit, "Shout! Shout! (Knock Yourself Out)".

The band declined from 1962 with the departure of Mitchell for his military service. He started a solo career in 1963. The group stopped recording in late 1964.

As a result of replacement or integration, the following musicians were also part of the band: Michel Santangeli (drums), Arturo Motta (drums), Armand Molinetti (drums), Gilbert Bastelica (drums), Michel Gaucher (saxophone), Mick Picard (saxophone), and Paul Benaïm (rhythm guitar).

Oh Daniela la vie n'est qu'un jeu pour toi
Oh Daniela pourtant ne croit pas
Que tu peux oh Daniela jouer avec l'amour
Sans risquer de te bruler un jour

Oh Daniela tu prends ton air innocent
Oh Daniela pour faire un serment
Et tu dis les mots les plus beaux du monde
Sans jamais les penser un instant.

Mais si tu n'as pas vingt ans
Tu n'es plus une enfant,
chaque nuit tu attends en rêvant
Un visage adoré qui viendra t'éveiller
En posant sur tes lèvres un baiser...

Oh Daniela la vie n'est qu'un jeu pour toi
Oh Daniela pourtant ne croit pas
Que tu peux oh Daniela jouer avec l'amour
Sans risquer de te bruler un jour

Oh Daniela tu découvriras
Oh Daniela celui qui saura
Partager tes jours tes rêves et tes peines
Pour en faire un univers de joie
Ce jour là ta vie commencera.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Daniel Saez - j'accuse - 2010
Rock, Alternative Rock, Post-Punk

Album: J'accuse (RYM: 2,81/5)

Allmusic
Damien Saez was a French singer/songwriter who first studied music -- piano -- at the Conservatoire National de Région de Dijon before signing to Island/Universal in 1999. Influenced by classic rock artists such as Led Zeppelin, the Sex Pistols, and U2, as well as '90s giants Jeff Buckley, Blur, and Radiohead, Saez -- born in Savoy, France on August 1, 1977 -- recorded and released his first album, Jours Étranges, late in 1999, and the collection sold well and earned him quite a good number of plaudits. 2001 saw the release of his first collection of poems, À Ton Nom, and in 2002, he released album number two, God Blesse -- which was meant to be a companion to the online experimental instrumental album Katagena available as a free for download and contained the highly controversial single "Sexe." His 2004 album, Debbie, was his last for Island/Universal. In April of 2008, he released his fourth album, Killing the Lamb. In 2009 he released his first album entirely of English songs entitled Yellow Tricycle - A Lovers Prayer. He released J'Accuse in 2010 and followed this up with the 2012 Messina which was a more of dance-orientated record.

Album:
J'accuse marks the triumphant return of Saez to the sharp-edged alternative rock style that he abandoned six years earlier after his third album, Debbie (2004). Lyrically dense and musically unpredictable, it's a mystifying album that reestablishes singer/songwriter Damien Saez as one of the most remarkable artists in the French alternative community. J'accuse is the album that many fans had been long awaiting as Saez dabbled with different styles and defied expectations time and time again. On the other hand, defying expectations is something that fans had come to expect from Saez. Despite breaking into the Top Ten with his second album, God Blesse (2002), and nearly topping the charts a couple years later with Debbie, Saez has always gone against the grain. Maddened by the commercial success of Debbie, he quit the recording industry altogether for several years and confined himself to live performances and Internet output. When he finally resurfaced, it was with a bewildering triple album of chanson, Varsovie-L'Alhambra-Paris (2008), and an English-language odds-and-ends effort billed to the moniker Yellow Triangle, A Lovers Prayer (2009). Perhaps Saez needed to go through what he did and leave commercial success behind for a while before returning to the alternative rock style that brought him fame in the first place. It's hard to say. Whatever his motives, it's a relief to hear him once again doing what he does best, pushing the boundaries of French rock. J'accuse opens with a tantalizing three-minute a cappella, "Les Anarchitectures," before kicking into gear with the full-throttle hard rock of "Pilule." From a musical standpoint, "Pilule" isn't a significant departure from the first half of A Lovers Prayer, but it sure sounds a lot better to hear Saez kicking out the jams in French. Not that his English is bad on A Lovers Prayer; it's just that he's a far more interesting lyricist in French. Its title referencing a famous article written by Émile Zola, J'accuse is a cascade of language. The title track is especially dense. Not until the nine-minute instrumental interlude "Regarder Les Filles Pleurer (Thème)" does Saez stop to catch his breath. Fans of Saez's first three albums should rejoice. J'accuse is the return to form that they've been long awaiting. It's still a difficult album, make no mistake. The second half is particularly knotty. Yet it wouldn't be an effective Saez album if it weren't challenging to some extent.

Faut du gasoil dans la bagnole
La carte bleue dans la chatte
Faut de la dinde pour noël
Faut bronzer pendant les vacances
Faut du forfait faut du forfait
Pour oublier la solitude
Faut des gonzesses à la télé
Ouais faut des pilules pour bander
Faut du gazon dans les tabacs
Il faudrait arrêter d'fumer
La salle de sport sur des machines
Faut s'essouffler faut s'entraîner
Faut marcher dans les clous
Faut pas boire au volant
Faut dépenser les ptits sous
Faut du réseau pour les enfants
Faut ressembler à des guignols
Faut que tu passes à la télé
Pour rentrer dans les farandoles
De ceux qui ont le blé
J'me ballade dans les grandes surfaces
J'ai pas assez mais faut paye
Je cours au gré des accessoires
Et des conneries illimitées
Les gens parlent mal les gens sont cons
Au moins tout aussi con que moi
À se faire mettre à s'faire baiser
Sûr à s'faire enfanter
Des bébés par des hologrammes
Des mots d'amour par satellite
Mais ces connards ils savent pas lire
Ils savent même pas se nourrir
Des OGM dans les biberons
Ouais c'est tant mieux ça fera moins con
Quand ils crèveront en mutation
Des grippes porcines sur des cochons

Oh non l'homme descend pas du singe
Il descend plutôt du mouton
Oh non l'homme descend pas du singe
Il descend plutôt du mouton

Faut marcher dans les clous
Faut pas boire au volant
Faut dépenser ses ptits sous
Faut du réseau pour tes enfants
Faut ressembler à des guignols
Faut passer à la télé
Faut rentrer dans les farandoles
De ceux qui font le blé

Il parait qu'il faut virer les profs
Et puis les travailleurs sociaux
Les fonctionnaires qui servent à rien
Les infirmières à 1 000 euros
Faut qu'ça rapporte aux actionnaires
La santé et les hôpitaux
Va t'faire soigner en Angleterre
Va voir la gueule de leur métro
Faut qu'on se fasse une raison
On a loupé nos transactions
On s'est laissé prendre le cul
Par nos besoins nos religions
Il faut foutre le portables aux chiottes
Et des coup d'pioche dans la télé
Faut mettre les menottes
À chaque présentateur du JT

J'accuse !
Au mégaphone dans l'assemblée
J'accuse ! J'accuse ! J'accuse !
Au mégaphone dans l'assemblée

Faut du gasoil dans la bagnole
La carte bleue dans la chatte
Faut de la dinde pour Noël
Faut bronzer pendant les vacances
Faut du forfait faut du forfait
Faudrait de l'herbe dans les tabacs
La salle de sport sur des machines
Faut s'essouffler faut s'entraîner
J'me ballade dans les grandes surfaces
J'ai pas assez mais faut payer
Je cours au gré des accessoires
Et des conneries illimitées
J'me ballade dans les grandes surfaces
J'ai pas assez mais faut payer
Je cours au gré des accessoires
Et des conneries illimitées

Must have petrol in the car
The Visa card stuck in the slut(1)
Must have turkey for christmas
Get a tan during vacations
Must have a good cell phone contract
To forget about loneliness
Must have chicks on TV
Yeah must have pills to get a hard on
Must have weed in tobacconist's shops
Would be nice to quit smokin'
The indoor sport on contraptions
Must loose breath, must exercise

Must stay in line (2)
Must not drink while driving
Must spend the little money
Must get bandwidth for children
Must look like bozos
You must appear on TV
to join the merry dance
of the ones who own the dough

I take strolls in supermarkets
Don't have enough but must cough up
I trail behind accessories
and unlimited junk
People can't talk straight, people are morons
At least as big jerks as I am
Getting screwed up, fucked up
For sure, getting babies
bred by holograms
Words of love through sat-link
but those cunts can't even read
Can't even feed themselves properly
Bottle-feeding with GMOs
Yeah, fine, will look better
when they'll mutate to death
swine flu on pigs

Oh no, Man does not stem from apes
rather from sheeps
Oh no, Man does not stem from apes
rather from sheeps

Must stay in line
Must not drink while driving
Must spend the little money
Must get bandwidth for children
Must look like bozos
You must appear on TV
to join the merry dance
of the ones who own the dough

They say must fire teachers
and social workers too
all those useless civil servants
12000€/y nurses
Health care and hospitals
must bring cash to shareholders
Get a treatment in the UK
Go see what their underground looks like
Let's face it
We screwed our deals
We let our asses get fucked
By our needs and religions
We must flush our crap cell phones
and smash pickaxes through TV screens
Must handcuff each single
TV newscaster

J'accuse !
loudhailing among the crowd
J'accuse ! J'accuse ! J'accuse !
loudhailing among the crowd

Must have petrol in the car
The Visa card stuck in the slut
Must have turkey for christmas
Get a tan during vacations
Must have a good cell phone contract
Must have weed in tobacco shops
The indoor sport on contraptions
Must loose breath, must exercise
I take strolls in supermarkets
Don't have enough but must cough up
I trail behind accessories
and unlimited junk
I take strolls in supermarkets
Don't have enough but must cough up
I trail behind accessories
and unlimited junk

(1) definetly meant as female sexual organ
(2) lit. "keep to pedestrian crossings", idiomatic expression meaning "to stick to the rules"
thanks to LyricsTranslate.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Claude Bolling - Baroque and Blue - 1975 - Jazz/classica
Third Stream (Blending of Jazz and Western Classical Music, with improvisation as a key element.)

Album: Suite for Flute and Jazz Piano Trio (RYM: 3,60/5)

Artist Biography
by arwulf arwulf (allmusic)

Pianist, composer, producer, and bandleader Claude Bolling enjoyed his first successes as a kingpin in the mainland European trad jazz movement of the 1950s and '60s. A skilled pianist who was heavily influenced by Duke Ellington, Teddy Wilson, Earl Hines, and Art Tatum, he also persisted in performing ragtime and old-style jazz during the years when U.S. and European pop culture was dominated by Elvis Presley and the Beatles. Beginning in 1975, Bolling created his own personal micro-genre of classical crossover chamber jazz, composing and recording entire suites that featured several of the world's most highly acclaimed virtuosi. While decades of devotion to ragtime, blues, New Orleans jazz, boogie-woogie and swing have earned him a faithful following throughout much of Europe, Bolling is best known in North America for his numerous albums of accessibly presented suites written and arranged specifically for classical soloists and a mainstream jazz rhythm section.

Claude Bolling was born in Cannes, France on April 10, 1930. A child piano prodigy, his primary jazz influence was Duke Ellington. The small band he assembled in 1945 drew inspiration from old time New Orleans jazz legends like Jelly Roll Morton, King Oliver, Louis Armstrong, and Sidney Bechet as well as the groups led by Ellington sidemen Johnny Hodges, Rex Stewart, Barney Bigard, and Cootie Williams. This blend of interests would soon place him on common ground with his almost exact contemporary, Britain's premier trad jazz bandleader, Chris Barber. In 1948 Bolling accompanied legendary blues vocalist Bertha Chippie Hill and subsequently gigged with trumpeters Roy Eldridge and Cat Anderson, cornetist Rex Stewart, saxophonist Paul Gonsalves, and vibraphonist Lionel Hampton. He formed and began leading his own orchestra in 1955, eventually naming it the Show Bizz Band.

During the 1960s Bolling demonstrated a keen business sense by supplementing his jazz oriented recording and bandleading activities with hectic and, one hopes, lucrative service as creator, producer, and manager of Les Parisiennes, a female pop vocal quartet who specialized in rapid-fire novelty numbers, synchronized movement, and brightly patterned mod-a-go-go outfits. He also composed quite a lot of incidental and theme music for films and television (including "Borsalino," "Netchaiev Est de Retour," and "Les Brigandes du Tigre"), while expanding his knowledge and interpretive range to include early modern jazz pianists like Erroll Garner, Thelonious Monk, Oscar Peterson, George Shearing, and Horace Silver in addition to swing and stride favorites Fats Waller, Count Basie, and Willie "The Lion" Smith.

When the cheery opening bars of "Baroque and Blue" began emanating from radios and stereo phonographs throughout the U.S. in 1975, both Bolling and flutist Jean-Pierre Rampal quickly became household names among listeners who enjoyed both jazz and European chamber music as some of the melodies seemed to reflect the sunny influence of Jacques Ibert. The mingling of these currents worked nicely on the album Suite for Flute and Jazz Piano Trio, and the record sold well, not least for its clever cover illustration depicting an anthropomorphized piano and a substantially upsized flute relaxing together in a hotel bed. The fact that the flute was blowing smoke rings gave the entire picture a humorously post-coital twist.

Bolling returned to the jazz/classical format many times, teaming up with a series of star soloists including guitarist Alexander Lagoya, violinist Pinchas Zukerman, trumpeter Maurice Andre, cellist Yo-Yo Ma, flautist Elana Duran. and pianists Emanuel Ax and Jean-Bernard Pommier. Bolling's two-piano inventions were composed in sonata form, and a "Suite for Piano and Chamber Orchestra" also emerged from his fertile imagination. In later years Bolling collaborated with jazz violinist Stéphane Grappelli and vocalist Guy Marchand, hosted numerous tributes to Duke Ellington and led a successful big band. His perseverance and longevity were rewarded with renewed interest in his many accomplishments, including of course Les Parisiennes, whose complete works were reissued shortly after the turn of the millennium in several eye-catching retrospective collections. Claude Bolling died on December 29, 2020 in Garches, France; he was 90 years old.

Jean-Pierre Rampal
Jean-Pierre Louis Rampal (7 January 1922 – 20 May 2000) was a French flautist. He has been personally "credited with returning to the flute the popularity as a solo classical instrument it had not held since the 18th century."

Album:
Jean-Pierre Rampal may never get down and dirty on this album, considered "his first jazz recording," but the music is nonetheless infectious, breezy, playful, and crystal clear. The legendary flutist is so technically accomplished that anything too "swinging" from him seems a bit stiff, but this is where drummer Marcel Sabiani, bassist Mel Young, and legendary jazz pianist (and friend of Duke Ellington) Claude Bolling take over, all making these compositions seem jazzier than they are on paper. As an example, both "Baroque and Blue" and "Sentimentale" flirt with the morning air, with themes that somewhat separate Rampal's fluttering passages from all the hipster riffs. Track for track, note for note, there is nothing substandard about these "clazzical" hybrids. "Fugace" is a great countermelody express elevator, delightful in its energy and polish. "Javanaise" takes it slow enough for Charlie Brown to waltz about on the ice-skating rink. "Versatile" is a bouncy little trapeze act on the bass flute, and "Véloce" is a fantastic race to the wedding altar, a fantastic balance of tension and release, a nail-biter, a Buster Keaton melodrama, a cream pie in the face, and a precise exclamation mark to close the album. Here and there, Bolling and company manage to get Rampal to loosen his tie. Slightly. It's not quite jazz, but it's still spellbinding music.
Live:
https://www.youtube.com/watch?v=7dVtLVSzESU
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Michel Petrucciani - Colors - 1997 - Jazz

Album: Both World (RYM: 3,88/5)

Michel Petrucciani (French pronunciation: ​[miʃɛl petʁutʃani]; Italian: [petrutˈtʃaːni]; 28 December 1962 – 6 January 1999) was a French jazz pianist. From birth he had osteogenesis imperfecta, a genetic disease that causes brittle bones and, in his case, short stature. He became one of the most accomplished jazz pianists of his generation despite his health condition.

Michel Petrucciani came from an Italo-French family (his grandfather was from Naples) with a musical background. His father Tony played guitar, his brother Louis played bass, and his brother Philippe also plays the guitar. Michel was born with osteogenesis imperfecta, which is a genetic disease that causes brittle bones and, in his case, short stature. It is also often linked to pulmonary ailments. The disease caused his bones to fracture over 100 times before he reached adolescence and kept him in pain throughout his entire life. "I have pain all the time. I'm used to having hurt arms," he said. In Michel's early career, his father and brother occasionally carried him because he could not walk far on his own unaided. In certain respects he considered his disability an advantage, as he got rid of distractions like sports that other boys tended to become involved in. And he hints that his disability was helpful in other parts of his life. He said: "Sometimes I think someone upstairs saved me from being ordinary."

At an early age, Michel saw Duke Ellington on television and wished to become a pianist like him. When Michel was four, his father bought him a toy piano of his own, but Michel smashed the piano with a toy hammer. "When I was young, I thought the keyboard looked like teeth," he said. "It was as though it was laughing at me. You had to be strong enough to make the piano feel little. That took a lot of work." Soon after this, Michel's father bought him a real piano.

From the beginning, Petrucciani had always been musical, reportedly humming Wes Montgomery solos by the time he learned to speak. He began learning classical piano at the age of four, and was making music with his family by the age of nine. The musician who would prove most influential to Petrucciani was Bill Evans, whom he began listening to at around the age of ten. Petrucciani's layered harmonies, lyrical style, and articulation of melody have always been linked most strongly to this early exposure to Evans.

Petrucciani gave his first professional concert at the age of 13. At this point of his life, he was still quite fragile and had to be carried to and from the piano. His hands were average in length, but his size meant that he required aids to reach the piano's pedals.

Petrucciani felt he needed to travel to Paris to begin his musical career, but he found it difficult to leave home. His father was protective, constantly concerned for his son's well-being and reluctant to put him in any danger. Petrucciani's drummer Aldo Romano said of Michel's father: "[He] was an idiot. He didn't trust anybody. He wanted to keep Petrucciani as a partner, to play music with. He was very jealous. So I had to fight to take him to Paris, because his father didn't want me to, because he wanted to keep him, like you would cage a monster."

Petrucciani made his first trip to Paris at the age of fifteen. There he played with Kenny Clarke in 1977 and Clark Terry in 1978. His breakthrough performance occurred at the Cliousclat jazz festival. Terry was missing a pianist, and when Petrucciani was carried onto the stage, he thought it was a joke; Petrucciani was not more than three feet tall. But he astounded Terry and the rest of the festival with his prodigious talent and virtuosity. Terry said, "When I heard him play – oh, man! He was a dwarf, but he played like a giant. I said, 'listen, little guy – don't run away. I'll be back for you.'"

Petrucciani's trip to Paris garnered mixed experiences but was undoubtedly musically and personally transforming. He reports, "It was mostly to do with drugs and weird women, but I was lucky and got out safe." His attitude during his time in France was largely immature and insecure, despite his considerable talent. He wore a yachtsman's cap and frequently acted pushy and tough, referring to people as 'baby'. "He knew how to say 'motherfucker' in French," said Michael Zwerin, who met Petrucciani when the pianist was fifteen. Petrucciani played in a trio with Kenny Clarke during his time in Paris and rose to stardom.

After his stint in Paris, Petrucciani briefly returned to home before beginning his professional life. Living with his drummer, Romano, he was free of the protective presence of his father and began enjoying an independent lifestyle. Petrucciani began recording with Owl Records and struck up a friendship with the recording company's owner, Jean-Jacques Pussiau. Pussiau recalls that Petrucciani always seemed to be in a hurry to record, saying, "I don't want to lose time." Eventually however Petrucciani desired independence from Romano, too. Romano remembers: "He didn't feel free with me. So he had to kill his second father somehow to move on. He needed to escape. He needed to go very far, as far as he could go, and that was California."

Petrucciani travelled to the U.S. after his trip to Paris, but it is not known whether he stopped in New York first. "Michel was really into bullshitting...he would lie to your face," said French journalist Thierry Peremarti. This calls into question his strange account of his time in Manhattan. He claimed to have scammed his way into the city on bad checks and hid out in Brooklyn with the help of Sicilian family connections. He also claimed to have played piano in a midtown brothel.

What is known for certain is that he ended up in California in 1982, where he visited retired saxophonist Charles Lloyd. Lloyd had stopped playing when people began to view his sidemen as more fashionable than he himself was. After hearing Petrucciani play, Lloyd was so inspired that he agreed to tour with him. Lloyd said to him, "I was here planning to not play again. You triggered me. I heard this beauty in you and I said, 'well I have to take you 'round the world cause there's something so beautiful, it was like providence calling." Petrucciani and Lloyd's tour of the West Coast of the United States was a huge success and they continued internationally. On 22 February 1985, with Petrucciani cradled in his arms, Lloyd walked onto the stage at Town Hall in New York City and sat him on his piano stool for what would be a historic evening in jazz history: the filming of One Night with Blue Note. The film's director John Charles Jopson would later recall in the reissued liner notes that the moment moved him to tears.

Petrucciani and Lloyd's performance at the Montreux Jazz Festival was made into an album, and in 1982, they won the 1982 Prix d'Excellence. But Petrucciani expressed mostly disdain and frustration at the awards he felt were being heaped upon him, believing that he was receiving so many at least in part because people believed he was going to die young.

Petrucciani moved to New York City in 1984 and spent the rest of his life there. This was the most productive period of his career. He recorded with Wayne Shorter and Jim Hall, producing the trio album Power of Three. In 1986, Petrucciani recorded a live album with Wayne Shorter and Jim Hall. He also played with diverse figures in the U.S. jazz scene including Dizzy Gillespie.

But he made a priority of recording solo piano also. He said: "I really believe a pianist is not complete until he's capable of playing by himself. I started doing solo concerts in February 1993, when I asked my agent to cancel my trio dates for a year in order to play nothing but solo recitals… I had a wonderful time playing alone, and discovering the piano and really studying every night. I felt like I was learning so much about the instrument and about communicating directly with an audience. So it was an incredible experience. I really loved doing that, and afterwards getting on stage with a group again and playing with other people was a piece of cake!"

Personality and musical style
Osteogenesis imperfecta seemed to contribute greatly both to Petrucciani's personality and his playing style. By his own account, he was in almost constant physical pain. Yet, he was known for his cheerful, playful, even cavalier personality. He said, "I love humor, I love to laugh, I love jokes, I love silliness, I love that, I think it's great, I think laughter is worth a whole lot of medicine."

Though he often exhibited arrogance and even womanizing tendencies in his adolescent years, the defining characteristic of Petrucciani was his confidence. Michael Zwerin recalled one example: "We were sitting there wondering what to play. It was kind of hot. And Michel said, 'anybody know "Giant Steps?" Neither Louis nor I wanted to admit we didn't really know it. So there was this great silence. And Michel said, "Well, I do!" and he pounded into a solo version of it at a very fast clip, and it was really amazing. That to me is Michel—'Well, I do!' Man, a confidence you wouldn't believe."

Petrucciani also appeared to have a quirky side. In a Mezzo documentary, he can be heard saying in a humorous voice, "I am very short!" Pussiau, the owner of Owl Records, recalled when he used to carry Michel for convenience. "Sometimes, when I used to carry him, he would bite my ear. We'd walk into a restaurant, and he'd chomp."

During his last years in New York, it seemed Michel's general attitude of carelessness was magnified. He said to his manager, "I want to have at least five women at once, I want to make a million dollars in one night." In an interview, he said: "My handicap is not mortal. I won't die because of my handicap. It has nothing to do with that." He also said, "Eventually, when I get to be 75, I'll write a book on my deathbed." Yet other reliable sources assert that he was always aware of the potential effects of osteogenesis imperfecta.

What is known for certain is that Petrucciani was fiercely determined to take all the joy and satisfaction from life that he could. "I'm a brat," he said. "My philosophy is to have a really good time and never let anything stop me from doing what I want to do. It's like driving a car, waiting for an accident. That's no way to drive a car. If you have an accident, you have an accident—c'est la vie." He certainly lived true to his maxim. Just one week before he died of a pulmonary infection, he was up all night celebrating the new year with his friends.

Stylistically, Petrucciani is most frequently compared to Bill Evans and Keith Jarrett for his lyricism and Oscar Peterson for his virtuosity. His playing was often quite dramatic; critics accuse him of over-indulgence and cheap showmanship, sometimes dismissing his music as being too accessible. Petrucciani was loose and playful in a rhythm section, and gave attention to a strong articulation of the melody. He sometimes paused at the peaks of his solo lines before descending again, as if in appreciation of his idea.

Michel distinguished himself most obviously from his primary inspiration in that he lacked Bill Evans's cerebral approach to the piano. Petrucciani's interest was primarily in simply playing; he spent little time reharmonizing or arranging. "When I play, I play with my heart and my head and my spirit… I don't play to people's heads, but to their hearts." he says. The moments of musical clarity or bliss he describes come during his performances. "You know sometimes when I play a concert… and I have that right timing… those notes make me feel warm and good… it's like lovemaking, it's like having an orgasm." Yet despite his emphasis on performance, he disliked applause, calling it old-fashioned and a distraction.

Michel's unbridled love of the piano in no way entailed artistic carelessness. Indeed, he described the piano as literally taking him to his grave. "It might lead me to death… meaning that I'd be on my deathbed saying, too bad I can't live another year, I would have been much better." He also complained about mistakes, saying, "…the pitfall is that when I make a mistake it sounds absolutely outrageous, really horrible because everything else is so clear!"

Wayne Shorter summed up Michel Petrucciani's essential character and style in this quote:

"There's a lot of people walking around, full-grown and so-called normal—they have everything that they were born with at the right leg length, arm length, and stuff like that. They're symmetrical in every way, but they live their lives like they are armless, legless, brainless, and they live their life with blame. I never heard Michel complain about anything. Michel didn't look in the mirror and complain about what he saw. Michel was a great musician—a great musician—and great, ultimately, because he was a great human being because he had the ability to feel and give to others of that feeling, and he gave to others through his music."

Album:
Both Word is an album by Michel Petrucciani released in 1997 on the Dreyfus label. The pianist is accompanied by a quintet of European and American musicians with Anthony Jackson on bass guitar, Stefano Di Battista on saxophone, Steve Gadd on drums and the two brass players are Bob Brookmeyer on trombone and Flavio Boltro on trumpet.
https://www.youtube.com/watch?v=LwUKXnK ... 9Xbe4xD4xM
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Aston Villa - Raisonne -1996
Alternative rock

Album: Aston Villa (RYM: 3,22/5)

Astonvilla is a French rock band founded in January 1994 in Ivry-sur-Seine by Hocine Hallaf and Fred Franchitti.

The story of the band begins in the 1980's with the meeting of Frederic Franchitti and Hocine Hallaf aka Hoss, an economics student that he would later teach. Fred was born without a left forearm, which prevented him from playing an instrument. So he chose composition and singing to get into music.

Their first group Dagstaff quickly grew to include three other members: Jean-Baptiste Mory, also known as "Djib", Franck Pilant and Laurent Muller, also known as "Doc Muller" (former drummer of Desdemona). They then became Aston Villa.

Three reasons for this name:

They are soccer fans and take the name of the premier league club Aston Villa.
Aston is also a contraction of Aston Martin, a British car brand. This marks their taste for British rock.
Villa is a reminder of the revolution of Pancho Villa.
...
Je suis tellement jeune et belle
avec les cheveux longs
Tous les délires m'appartiennent
et quand je dis non c'est non
C'est moi la fraîcheur future,
je construis pour demain
La belle et grande aventure,
alors je monte le son,
alors je monte le son

Je m'isole,
je cherche quelque chose
qui raisonne (x2)

À force d'user les mots sur
toutes les portes closes
Je me suis acheté un sourire
en forme de mépris
J'ai profondément les nerfs
quand tu m'trashes en plein vol
Quand tu brises mon zèle,
alors je monte le son,
alors je monte le son

Je m'isole,
je cherche quelque chose
qui raisonne (x2)

À force d'user les mots
sur toutes les portes closes
J'ai profondément les nerfs
alors

Je m'isole,
je cherche quelque chose
qui raisonne. (x2)

I am very young and beautiful
With long hair
All the deliriums belong to me
And When I say no, I mean no
It's me, the fresher future
I am constructing for tomorrow
The beautiful and large adventure
So I raise the sound,
So I raise the sound

I am alone
I am looking for someone
Who is cautious (x2)

By dint of using sure words
All the doors close up
I bought myself a smile
In the shape of contempt
It profoundly annoys me
When you belittle me in front of people
When you break my zeal
So I raise the sound,
So I raise the sound.

I am alone
I am looking for someone
Who is cautious (x2)

By dint of using these words
On all the boarded up doors
I'm profoundly annoyed
So

I am alone
I am looking for someone
Who is cautious (x2)

Thanks to marquisinspades on LyricsTranslate.
Last edited by Romain on Mon Feb 28, 2022 12:41 pm, edited 1 time in total.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Luis Mariano - Mexico - 1957 - OST
Chanson, Opérette


Wikipédia:
Luis Mariano Eusebio González García (13 August 1914 – 14 July 1970), also known as Luis Mariano, was a popular tenor of Spanish origin who achieved celebrity in 1946 with "La belle de Cadix" ("The Beautiful Lady of Cadix") an operetta by Francis Lopez. He appeared in the 1954 film Adventures of the Barber of Seville and Le Chanteur de Mexico (1957) and became popular in France as well as his native Spain.

Luis Mariano was born in Irun, Spain on 13 August 1914, the son of a garagiste and taxi-driver and showed interest in singing as a child. His family moved to France at the start of the Spanish Civil War and settled in Bordeaux where he studied at the Conservatoire, and also sang in cabarets.

Jeanne Lagiscarde, who was in charge of the classical department of a record store in Bordeaux, took Mariano under her wing, and gave up her job to nurture his talent in Paris. To earn a living, he sang in stage shows and appeared in films, starting with 'L'escalier sans fin' in 1943. That year he auditioned for the role of Ernesto in Don Pasquale, and sang in the opera at the Palais de Chaillot and later at the Théâtre des Variétés, with Vina Bovy, recording excerpts from the opera. He also left many recordings of popular song and operetta.

He continued to appear in other films from 1946, including a singing role in Napoléon and a film adaptation of Lehar's Der Zarewitsch.

In his encyclopedia Gänzl describes Mariano as a "svelte singing idol of French operetta of the post-war stage and screen". Mariano died in Paris in 1970.

His music is featured prominently in the 1996 Belgian film Le huitième jour in which he is played by Laszlo Harmati during scenes employing magical realism.

In 2014, French baritone David Serero recorded an album with Mariano classics performed in a Jazz version for the 100th anniversary of his birth: David Serero chante Luis Mariano – jazz version.

Opérette:
Operetta is a form of theatre and a genre of light opera. It includes spoken dialogue, songs, and dances. It is lighter than opera in terms of its music, orchestral size, length of the work, and at face value, subject matter. Apart from its shorter length, the operetta is usually of a light and amusing character. It sometimes also includes satirical commentaries.

"Operetta" is the Italian diminutive of "opera" and was used originally to describe a shorter, perhaps less ambitious work than an opera. Operetta provides an alternative to operatic performances in an accessible form targeting a different audience. Operetta became a recognizable form in the mid-1800s in France, and its popularity led to the development of many national styles of operetta. Distinctive styles emerged across countries including Austria-Hungary, Germany, England, Spain, the Philippines, Mexico, Cuba, and the United States. Through the transfer of operetta among different countries, cultural cosmopolitanism emerged in the previous century. Operetta as a genre lost favor in the 1930s and gave way to modern musical theatre. Important operetta composers include Johann Strauss, Jacques Offenbach, Franz Lehar, and Francisco Alonso.

Le chanteur de Mexico - Le film
The Singer from Mexico (French: Le Chanteur du Mexique) is a French-Spanish musical film directed by Richard Pottier starring Luis Mariano and Bourvil, released in 1957. It was a screen version of Francis Lopez's operetta that premiered at the Théâtre du Châtelet on 15 December 1951. It was in a tradition of operetta films that stretched back to the early sound era.

It was shot at the Billancourt Studios and on location in Paris and Spain. The film's sets were designed by the art directors Sigfrido Burmann and Serge Piménoff.

Film: https://www.youtube.com/watch?v=G2mbGd1VKvY


On a chanté les Parisiennes
Leurs petits nez et leurs chapeaux
On a chanté les Madrilènes
Qui vont aux arènes pour le toréro

On prétend que les Norvégiennes
Filles du Nord ont le sang chaud
Et bien que les Américaines
Soient les souveraines du Monde Nouveau

On oublie tout
Sous le soleil de Mexico
On devient fou,
Au son des rythmes tropicaux

Le seul désir qui vous entraîne
Dès qu’on a quitté le bateau
C’est de goûter une semaine
L’aventure mexicaine au soleil de Mexico

Mexico, Mexico
Sous ton soleil qui chante i…
Le temps paraît trop court
Pour goûter au bonheur de chaque jour

Mexico, Mexico
Tes femmes sont ardentes i…
Et tu seras toujours
Le paradis des cœurs et de l’amour

Une aventure mexicaine
Sous le soleil de Mexico
Ça dure à peine une semaine
Mais quelle semaine et quel crescendo

Le premier soir on se promène
On danse un tendre boléro
Puis le second on se déchaîne
Plus rien ne vous freine on part au galop

On oublie tout
Sous le beau ciel de Mexico
On devient fou
Au son des rythmes tropicaux

Si vous avez un jour la veine
De pouvoir prendre le bateau
Allez goûter une semaine
L’aventure mexicaine au soleil de Mexico

Mexico, Mexico
Sous ton soleil qui chante i…
Le temps paraît trop court
Pour goûter au bonheur de chaque jour

Mexico, Mexico
Tes femmes sont ardentes i…
Et tu seras toujours
Le paradis des cœurs et de l’amour
Mexico,
Mexico
Mexico,
Mexico
Last edited by Romain on Mon Sep 25, 2023 7:23 am, edited 1 time in total.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Pierre Schaeffer et Pierre Henry - Symphonie pour un homme seul - 1949 - Classical
Musique concrète

Pierre Schaeffer:
Pierre Henri Marie Schaeffer , French pronunciation: ​[ʃɛfɛʁ]; 14 August 1910 – 19 August 1995) was a French composer, writer, broadcaster, engineer, musicologist, acoustician and founder of Groupe de Recherche de Musique Concrète (GRMC). His innovative work in both the sciences—particularly communications and acoustics—and the various arts of music, literature and radio presentation after the end of World War II, as well as his anti-nuclear activism and cultural criticism garnered him widespread recognition in his lifetime.

Amongst the vast range of works and projects he undertook, Schaeffer is most widely and currently recognized for his accomplishments in electronic and experimental music, at the core of which stands his role as the chief developer of a unique and early form of avant-garde music known as musique concrète. The genre emerged in Europe from the utilization of new music technology developed in the post-war era, following the advance of electroacoustic and acousmatic music.

Schaeffer's writings (which include written and radio-narrated essays, biographies, short novels, a number of musical treatises and several plays) are often oriented towards his development of the genre, as well as the theoretics and philosophy of music in general.

Today, Schaeffer is considered one of the most influential experimental, electroacoustic and subsequently electronic musicians, having been the first composer to utilize a number of contemporary recording and sampling techniques that are now used worldwide by nearly all record production companies. His collaborative endeavors are considered milestones in the histories of electronic and experimental music.

Pierre Henry:
Henry was born in Paris, France, and began experimenting at the age of 15 with sounds produced by various objects. He became fascinated with the integration of noise into music, now called noise music. He studied with Nadia Boulanger, Olivier Messiaen, and Félix Passerone at the Conservatoire de Paris from 1938 to 1948.

Between 1949 and 1958, Henry worked at the Club d'Essai studio at RTF, which had been founded by Pierre Schaeffer in 1943. During this period, he wrote the 1950 piece Symphonie pour un homme seul, in cooperation with Schaeffer. It is an important early example of musique concrète. Henry also composed the first musique concrète track to appear in a commercial film: the 1952 short film Astrologie ou le miroir de la vie by Jean Grémillon. Henry also scored numerous additional films and ballets.

Two years after leaving the RTF, he co-founded, with Jean Baronnet, the first private electronic music studio in France: Studio Apsone-Cabasse.

Among Henry's works is the 1967 ballet Messe pour le temps présent, a collaboration with composer Michel Colombier and choreographer Maurice Béjart that debuted in Avignon. In 1970 Henry collaborated with British rock band Spooky Tooth on the album Ceremony.

In 1997, a Métamorphose: Messe pour le temps présent compilation recording was released that brought together remixes of various compositions by Henry by electronic artists Fatboy Slim, Coldcut, Saint Germain, The Mighty Bop and Dimitri From Paris. Composer Christopher Tyng was heavily inspired by Henry's Psyché Rock when writing the theme to the popular animated cartoon show Futurama. The theme is so reminiscent of Psyché Rock that it is considered a variation of the original which is a piece by Henry and Michel Colombier released in 1967. The track consists of bells, flutes, brass and rock ensemble (guitar, bass, drums) and electronic music. It is strongly inspired by The Troggs song Wild Thing (written by Chip Taylor) and Louie Louie, written by Richard Berry and first popularized by The Kingsmen.

Henry died on Wednesday 5 July 2017 at Saint Joseph's Hospital in Paris, at the age of 89.

Musique concrète:
Musique concrète (French: [myzik kɔ̃kʁɛt]; lit. 'concrete music') is a type of music composition that utilizes recorded sounds as raw material. Sounds are often modified through the application of audio effects and tape manipulation techniques, and may be assembled into a form of montage. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment as well as those created using synthesizers and computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, metre, and so on. It exploits acousmatic listening, meaning sound identities can often be intentionally obscured or appear unconnected to their source cause.

The theoretical basis of musique concrète as a compositional practice was developed by French composer Pierre Schaeffer beginning in the early 1940s. It was largely an attempt to differentiate between music based on the abstract medium of notation and that created using so-called sound-objects (l'objet sonore). By the early 1950s musique concrete was contrasted with "pure" elektronische Musik (based solely on the use of electronically produced sounds rather than recorded sounds) but the distinction has since been blurred such that the term “electronic music” covers both meanings. Schaeffer's work resulted in the establishment of France's Groupe de Recherches de Musique Concrète (GRMC), which attracted important figures including Pierre Henry, Luc Ferrari, Pierre Boulez, Karlheinz Stockhausen, Edgard Varèse, and Iannis Xenakis. From the late 1960s onward, and particularly in France, the term acousmatic music (musique acousmatique) started to be used in reference to fixed media compositions that utilized both musique concrète based techniques and live sound spatialisation. Musique concrète would influence many popular musicians, including the Beatles, Pink Floyd, and Frank Zappa.
The Symphony for a single man by Pierre Schaeffer and Pierre Henry is the first great work of musique concrète. In spite of its title, it has nothing of the classical schema of the symphony, resembling more a suite à la française.

After having composed and recorded on flexible discs his Five studies of noises (Étude aux tourniquets, Étude aux chemins de fer...), Pierre Schaeffer wished to realize a piece of longer duration. The Symphonie pour un homme seul was first composed in twenty-two movements at the Club d'essai de la Radiodiffusion-télévision française on acetate discs. It was broadcast on the RTF in 1949 before being premiered in concert on March 18, 1950 at the École normale de musique de Paris. A version in twelve movements was then realized by Pierre Henry in 1951, version which is played nowadays.

On July 26, 1955, Maurice Béjart used both the music and the argument of the Symphony for a Single Man to create the first ballet of musique concrète, which was performed all summer at the Théâtre de l'Étoile. From there, a long friendship between Béjart and Henry was born and they continued to work together for years. This ballet is performed around the world, making concrete music more widely known. It was performed again, among others, in 1966 at the Palais des Papes during the Avignon Festival
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Les Frangines - Notes - 2022
Chanson, pop

Wikipédia:
Les Frangines (meaning literally “The Sisters” in colloquial French) are a French musical duo composed of female singers and guitarists Anne Coste and Jacinthe Madelin. Their sound can be described as acoustic pop-folk.

Les Frangines is composed of Anne Coste and Jacinthe Madelin. The two have been friends since they were 12. Both women studied at the same school (near La Celle-Saint-Cloud in the Paris suburbs) and first met on their way there.

Only Jacinthe, who studied flute for 15 years, has formal musical training. Both studied literature at university. They learned to play guitars by watching online video lessons. They started writing songs in Spain during their student internship there under the Erasmus Programme.

In 2014 they launched their own YouTube channel and began to upload their own songs. They raised money for their first professional music video using crowdfunding. The pair noted: "It was an unexpected success, and it inspired us to continue, even though it was not easy to combine study and music."

Les Frangines were noticed and then signed by the record label Jo & Co. In March 2018 they released their debut single, titled "Si j'osais" ("If I Dared"). Their first EP, Vagabondes, followed on 22 June 2018.

The duo's first hit, "Donnez-moi"" (lit. "Give Me"), was co-written and composed with Vianney. Released as a single on 8 March 2019, the song racked up over 500,000 streams in one month and reached the top 10 on iTunes.

On 21 June 2019, the duo released their first album, titled simply Les Frangines. On 29 November, the album was reissued in an expanded "Deluxe Edition" containing several extra tracks. On 3 January 2020, the album was certified Gold by the French national syndicate for music publishing (SNEP) having sold more than 50,000 copies sold

Faudrait que j'passe au pressing,
Que j'rappelle ma grand-mère,
Que j'étende la machine,
Et qu'on aille boire un verre.

Ça fait longtemps, c'est vrai,
Ça fait longtemps, faudrait…

Que je reprenne ce film
Que j'avais commencé,
10 fois déjà,
On est toujours pressés,
Jamais le temps
De s'ennuyer vraiment,
De prendre le temps.

Fini la flemme,
Fini les "à plus tard"
Fini les "on verra",
Les promesses non tenues
Fini la flemme,
Fini les "à plus tard"
Fini les "on verra",
Vivre le temps venu ;
Vivre le temps venu.

Lire ce livre qu'on m'a offert l'autre jour,
Envoyer des fleurs,
Pour me faire pardonner
Ne pas oublier que j'ai peur dès qu'on me parle d'amour

Faudrait…
Comme promis,
Que je me remette au vélo,
Mais avant il faut que j'achète un vélo.
Rappeler maman,
Organiser nos vacances de printemps.

Fini la flemme,
Fini les "à plus tard"
Fini les "on verra",
Les promesses non tenues
Fini la flemme,
Fini les "à plus tard"
Fini les "on verra",
Vivre le temps venu ;
Vivre le temps venu.

Doudou,
Pain,
Arrêter de fumer,
Annuler les rendez-vous,
Prendre un abonnement à la salle,
Acheter des clopes,
Anniversaire Clément,
Réparer l'ordi,
Vitamine C,
Écrire une chanson sur les listes…

Fini la flemme,
Fini les "à plus tard"
Fini les "on verra",
Les promesses non tenues
Fini la flemme,
Fini les "à plus tard"
Fini les "on verra",
Vivre le temps venu ;

Fini la flemme,
Fini les "à plus tard"
Fini les "on verra",
Les promesses non tenues
Fini la flemme,
Fini les "à plus tard"
Fini les "on verra",
Vivre le temps venu


I'd better nip out to the dry cleaners,
And call my grandmother back,
And hang out a load of washing,
And we should go for a drink.

It's been a while, it's true,
It's been a while, I’d better...

Get back to that movie
That I’d started
10 times already,
We're always in a hurry,
Never the time
To get really bored,
To take our time.

No more laziness,
No more "catch you later"
No more "we'll see",
Or broken promises
No more laziness,
No more "catch you later"
No more "we'll see",
Live when the time comes;
Live when the time comes.

Read this book, I was given the other day,
Send some flowers,
To make amends
Don't forget I'm scared as soon as someone talks to me about love

I’d better...
As promised,
Get back into cycling,
But first I have to buy a bike.
Call Mum back,
Organise our spring holidays.

No more laziness,
No more "catch you later"
No more "we'll see",
Or broken promises
No more laziness,
No more "catch you later"
No more "we'll see",
Live when the time comes;
Live when the time comes.

Comfort object,
Bread,
Stop smoking,
Cancel appointments,
Take out a gym membership,
Buy some ciggies,
Clément Birthday,
Repair the computer,
Vitamin C,
Write a song about lists...

No more laziness,
No more "catch you later"
No more "we'll see",
Or broken promises
No more laziness,
No more "catch you later"
No more "we'll see",
Live when the time comes;

No more laziness,
No more "catch you later"
No more "we'll see",
Or broken promises
No more laziness,
No more "catch you later"
No more "we'll see",
Live when the time comes.

Thanks to Euan Mee on LyricsTranslate.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Marcel Zanini - Dis-moi oui ou non - 1956
Rock'N'Roll

Wikipédia:
Marcel Zanini (real name Zannini, born 9 September 1923) is a Turkish-born French jazz musician.

Zanini was born on 9 September 1923 in Istanbul, Turkey. His family arrived in Marseille in 1930 and settled there. His father was Neapolitan and his mother was Greek. He began learning the clarinet in 1942 and joined the orchestra of Leo Missir in 1946. He founded his first band in the early 1950s. He left for the United States in 1954 and has lived in New York for four years. He was the correspondent for the French magazine Jazz Hot. He returned to Marseille in 1958 and set up a new formation.

He went to Paris and in 1969 Leo Missir, then artistic director of the Barclay label, suggested he do a French adaptation of the Brazilian song by Wilson Simonal, "Nem vem que não tem" under the French name "Tu veux ou tu veux pas" (You want to or you don't). It was a huge success and Zanini became famous for his little mustache, bucket hat and glasses.

He continues to play in jazz clubs and festivals in Paris with his sextet. He has played with many musicians,French and American, including Georges Arvanitas and Eddy Louiss.

He is the father of the author Marc-Edouard Nabe who sometimes accompanies him on guitar. He lives in Yvelines.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Gabriel Fauré - Au bord de l'eau - 1871 - Classical
Mélodie

Gabriel Urbain Fauré (French: [ɡabʁiɛl yʁbɛ̃ fɔʁe]; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.

Fauré was born into a cultured but not especially musical family. His talent became clear when he was a small boy. At the age of nine, he was sent to the Ecole Niedermeyer music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, Fauré was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime.

Fauré's music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré's death, jazz and the atonal music of the Second Viennese School were being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations influenced the teaching of harmony for later generations. During the last twenty years of his life, he suffered from increasing deafness. In contrast with the charm of his earlier music, his works from this period are sometimes elusive and withdrawn in character, and at other times turbulent and impassioned.


Fauré is regarded as one of the masters of the French art song, or mélodie. Ravel wrote in 1922 that Fauré had saved French music from the dominance of the German Lied. Two years later the critic Samuel Langford wrote of Fauré, "More surely almost than any writer in the world he commanded the faculty to create a song all of a piece, and with a sustained intensity of mood which made it like a single thought". In a 2011 article the pianist and writer Roy Howat and the musicologist Emily Kilpatrick wrote:

His devotion to the mélodie spans his career, from the ever-fresh "Le papillon et la fleur" of 1861 to the masterly cycle L'horizon chimérique, composed sixty years and more than a hundred songs later. Fauré's songs are now core repertoire for students and professionals, sung in conservatories and recital halls throughout the world.

In Copland's view, the early songs, written in the 1860s and 1870s under the influence of Gounod, except for isolated songs such as "Après un rêve" or "Au bord de l'eau", show little sign of the artist to come. With the second volume of the sixty collected songs written during the next two decades, Copland judged, came the first mature examples of "the real Fauré". He instanced "Les berceaux", "Les roses d'Ispahan" and especially "Clair de lune" as "so beautiful, so perfect, that they have even penetrated to America", and drew attention to less well known mélodies such as "Le secret", "Nocturne", and "Les présents". Fauré also composed a number of song cycles. Cinq mélodies "de Venise", Op. 58 (1891), was described by Fauré as a novel kind of song suite, in its use of musical themes recurring over the cycle. For the later cycle La bonne chanson, Op. 61 (1894), there were five such themes, according to Fauré. He also wrote that La bonne chanson was his most spontaneous composition, with Emma Bardac singing back to him each day's newly written material. Among later works were cycles drawn from the poems of Charles van Lerberghe, La chanson d'Ève (1910) and Le jardin clos (1914).

Mélodie:
A mélodie (French: [melɔdi]) is a form of French art song, arising in the mid-19th century. It is comparable to the German Lied. A chanson, by contrast, is a folk or popular French song.

The literal meaning of the word in the French language is "melody".

The mélodie is often defined by comparison with the lied. Pierre Bernac provides this comparison in The Interpretation of French Song:

Debussy goes on to write that 'clarity of expression, precision and concentration of form are qualities peculiar to the French genius.' These qualities are indeed most noticeable when again compared with the German genius, excelling as it does in long, uninhibited outpourings, directly opposed to the French taste, which abhors overstatement and venerates concision and diversity.

Bernac writes that "the art of the greatest French composers is an art of suggestion", rather than explicit statement of feelings.

The mélodie is noted for its deliberate and close relationship between text and melody. To compose or interpret mélodies, one must have a sensitive knowledge of the French language, French poetry, and French poetic diction. Numerous books have been written about the details of French pronunciation specifically for mélodie singers, often featuring IPA transcriptions of songs with further notations for French-specific features like liaison and elision.

History:
The mélodie arose just before the middle of the 19th century in France. Though the lied had reached its peak in the early 19th century, the mélodie developed independently of that tradition. Instead, it grew more directly from the earlier genre of French songs known as the romance. These songs, while apparently quite similar to the mélodie, were then as now viewed as being of a lighter and less specific nature. The text of a mélodie was more likely to be taken from contemporary, serious poetry and the music was also generally of a more profound sort. Further, while most composers in this genre were Romantics, at least in chronology, certain features of mélodies have led many to view them as not properly Romantic.

Some of the first mélodies were those of Hector Berlioz. He was among the first to use the term to describe his own compositions, and his song cycle Les nuits d'été (1841) is still considered an example of the genre. Whatever Berlioz' chronological precedence, Charles Gounod is often viewed as the first distinct composer of mélodies: his compositional style evolves imperceptibly and illustratively from romance to mélodie. He wrote over 200 mélodies, on texts by such poets as Victor Hugo and Lamartine. His setting of Lord Byron's Maid of Athens, in English, is a perfect example of a romance that has become a mélodie.

Though numerous other composers, such as Massenet, wrote mélodies during Gounod's lifetime, a name that cannot be omitted is that of Gabriel Fauré. He wrote over 100 mélodies and has been called the French Schumann, though their styles and essential temperaments were very different. Fauré is best remembered for his settings of the poetry of Paul Verlaine, including Clair de lune and the song cycles Cinq mélodies "de Venise" and La bonne chanson.

A contemporary of Fauré whose name has become practically synonymous with the mélodie, even though he left only a handful of them, is Henri Duparc.

Claude Debussy and Maurice Ravel are today best known for their instrumental compositions. However, they both wrote dozens of mélodies that are still closely studied and often performed. Debussy is noted for a particular gift for marrying text and music, while Ravel based a number of his on folk song, in direct contradiction to the common practice for mélodies, transfiguring both forms.

Contemporaries of Ravel who were noted mélodie composers include Albert Roussel, Reynaldo Hahn and André Caplet. Though more famous as a composer for the organ, Louis Vierne wrote several collections of mélodies with texts from Baudelaire, Verlaine, and others.

Mélodies continue to be composed, though perhaps the last uncontestedly great composer of them was Francis Poulenc, who died in 1963. He wrote nearly 150 mélodies of all sorts.


https://en.wikipedia.org/wiki/Gabriel_Faur%C3%A9

Tenor version:
Soprano version:
https://www.youtube.com/watch?v=rMFH1ItWzNU

S'asseoir tous deux au bord d'un flot qui passe,
Le voir passer ;
Tous deux, s'il glisse un nuage en l'espace,
Le voir glisser ;
À l'horizon, s'il fume un toit de chaume,
Le voir fumer ;
Aux alentours si quelque fleur embaume,
S'en embaumer ;
Si quelque fruit, où les abeilles goûtent,
Tente, y goûter ;
Si quelque oiseau, dans les bois qui l'écoutent,
Chante, écouter...
Entendre au pied du saule où l'eau murmure
L'eau murmurer ;
Ne pas sentir, tant que ce rêve dure,
Le temps durer ;
Mais n'apportant de passion profonde
Qu'à s'adorer,
Sans nul souci des querelles du monde,
Les ignorer ;
Et seuls, heureux devant tout ce qui lasse,
Sans se lasser,
Sentir l'amour, devant tout ce qui passe,
Ne point passer !

To sit, both of us, on the edge of a stream that's passing by,
to see it passing;2
Both, if a cloud slides into the space,
to see it slide;
On the horizon. if a thatched roof is smoking,
to see it smoking;
If somewhere close by a flower is fragrant,
to fill one's self with its fragrance;
If some fruit, where the bees are tasting,
is tempting, to taste there;
If some bird, in the woods that listen to it,
is singing, to listen...
To hear at the foot of the willow tree where the water whispers,
the water whispering;
Not to feel, while this dream lasts,
time lasting;
Not bringing on any deep passion
except loving each other,
with no concern for the world's squabbles,
ignorong them;
And alone, happy, in the face of everything wearisome,
without getting weary,
to feel, in the midst or all that's passing by,
love not passing by!

Thanks to michealt on LyricsTranslate.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Charles Trenet - Douce France - 1943
Chanson


Artist Biography (Allmusic) by Bruce Eder

Charles Trenet was among the last of his kind of singer, a holdover from the era of pre-World War II France and the prime of Maurice Chevalier, as well as singer/composers such as Georges Brassens and Léo Ferré. Originally an art student, Trenet turned to singing in his early twenties, initially in partnership with pianist Johnny Hess in a duo billed as "Charles and Johnny." In his earliest stage persona, Trenet was also known as a musical impressionist, with a special penchant for doing exaggerated impersonations of Chevalier. Ironically, amid the manic antics of the act, he actually suffered from deep stage fright, which he never fully overcame, but later learned to mask. After a year working with Hess, he ended up drafted -- into the French Air Force, no less -- during which time he shaved his head and sported a monocle, two attributes that gave him a bizarre appearance and got him the nickname, for a time, of "The Singing Madman." He resumed his career and civilian status in 1936, amid that brief mid-'30s period of social and economic reform, culminating with the election of the Popular Front government under Leon Blum. By that time, Trenet had outgrown the Chevalier impressions and came to be known for his smooth, light baritone which, coupled with his seemingly relaxed persona, won over audiences in music hall performances. At one of his most famous engagements, in 1938, he was scheduled to sing three songs in what was the opening set of the evening and was called back by the audience and performed a total of 12 songs that night, and the featured performer never went on.

Trenet composed as well as sang and enjoyed his first big hit in 1939 with "Boum" an infectiously bubbly tune that captured the French listening public's attention. After World War II, Trenet's career moved into international circles as his songs started getting picked up in translation, usually with lyrics by Lee Wilson -- his biggest success was "La Mer," a piece that Bobby Darin turned into an English language hit (as "Beyond the Sea"). His other hits included such songs as "Le Soleil a Des Rayons de Pluie," "Il Y Avait Des Abres," "Printemps a Rio," "Bonsoir Jolie Madame," and "Que Reste-Il De Nos Amours" (better known in English as "I Wish You Love").

Trenet's longevity was something of a surprise even to him -- the singer had intended to retire in the 1970s, and had made a farewell tour of France; then he agreed to a request for a farewell concert in Canada and found the reception there so encouraging, that he chose to keep performing and was still working in the 1990s, a period in which at least four CDs of his work were released, including a best-of collection produced by British reissue expert Tony Watts. Over the course of his 60-year career, Trenet published some 850 songs as well as books of poetry and a handful of novels, although he tended to dismiss the significance of his productivity with a certain detached amusement. Into his 80s, he still presented an ebullient visage, a broad grin topped by thinning red hair that made him look exactly like the aging music hall entertainer that he was. Trenet was still writing songs very prolifically in the late '90s, often inspired by thoughts that occurred to him as he worked on his fiction, which was one reason he had so much trouble completing the latter.
Live:
https://www.youtube.com/watch?v=snXXOBMlqBU
Carte de Séjour cover:
https://www.youtube.com/watch?v=WWR22LAVyzw
Pomplamoose cover:
https://www.youtube.com/watch?v=FbqLa7vNiEY

Il revient à ma mémoire
Des souvenirs familiers
Je revois ma blouse noire
Lorsque j’étais écolier
Sur le chemin de l’école
Je chantais à pleine voix
Des romances sans paroles
Vieilles chansons d’autrefois

Refrain :
Douce France,
Cher pays de mon enfance
Bercée de tendre insouciance
Je t’ai gardée dans mon cœur !
Mon village au clocher aux maisons sages
Où les enfants de mon âge
Ont partagé mon bonheur
Oui je t’aime
Et je te donne ce poème
Oui je t’aime
Dans la joie ou la douleur
Douce France
Cher pays de mon enfance
Bercée de tendre insouciance
Je t’ai gardée dans mon cœur

J’ai connu des paysages
Et des soleils merveilleux
Au cours de lointains voyages
Tout là-bas sous d’autres cieux
Mais combien je leur préfère
Mon ciel bleu mon horizon
Ma grande route et ma rivière
Ma prairie et ma maison.

Refrain

It comes back to my mind
familiar memories
I visualize my black blouse3
When I was a school boy
On the way to school
I sang out loud
ballads without words
old songs of yesteryears

Sweet France
Dear country of my childhood
Cradled in such carefree blissfulness
I've kept you in my heart!
My village with the bell tower with the noble houses
Where the kids of my age
have shared my bliss
Yes, I love you
and I give you this poem
Yes, I love you
in joy or in pain
Sweet France
Dear country of my childhood
cradled in such carefree blissfulness
I've kept you in my heart

I've known landscapes
and these wonderful suns
on distant journeys
Far away under other skies
But how much I prefer
My blue sky, my horizon
My main road and my river
My prairie and my house.

Thanks to Zarina01 on LyricsTranslate.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Owlle - Mirage - 2022

Album: Folle machine

Wikipédia:
Owlle, whose real name is France, is a French singer born on September 23, 1986 in Cannes. She is a singer-songwriter and has a musical universe that she describes as dream pop
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Darius Milhaud - Le bœuf sur le toit - op.58- 1919-20 - Classical
Ballet

Wikipédia:
Darius Milhaud (French: [daʁjys mijo]; 4 September 1892 – 22 June 1974) was a French composer, conductor, and teacher. He was a member of Les Six—also known as The Group of Six—and one of the most prolific composers of the 20th century. His compositions are influenced by jazz and Brazilian music and make extensive use of polytonality. Milhaud is considered one of the key modernist composers.

Milhaud was born in Marseille, the son of Sophie (Allatini) and Gad Gabriel Milhaud. His father was from a Jewish family from Aix-en-Provence, and his mother from a Sephardi Jewish family from Italy. Milhaud began as a violinist, later turning to composition instead. Milhaud studied in Paris at the Paris Conservatory where he met his fellow group members Arthur Honegger and Germaine Tailleferre. He studied composition under Charles Widor and harmony and counterpoint with André Gedalge. He also studied privately with Vincent d'Indy. From 1917 to 1919, he served as secretary to Paul Claudel, the eminent poet and dramatist who was then the French ambassador to Brazil, and with whom Milhaud collaborated for many years, setting music for many of Claudel's poems and plays. While in Brazil, they collaborated on a ballet, L'Homme et son désir.

On his return to France, Milhaud composed works influenced by the Brazilian popular music he had heard, including compositions of Brazilian pianist and composer Ernesto Nazareth. Le bœuf sur le toit includes melodies by Nazareth and other popular Brazilian composers of the time, and evokes the sounds of Carnaval. Among the melodies is, in fact, a Carnaval tune by the name of "The Bull on the Roof" (in Portuguese, which he translated to French 'Le boeuf sur le toit', known in English as 'The Ox on the Roof'). He also produced Saudades do Brasil, a suite of twelve dances evoking twelve neighborhoods in Rio de Janeiro. Shortly after the original piano version appeared, he orchestrated the suite.

Contemporary European influences were also important. Milhaud dedicated his Fifth String Quartet (1920) to Arnold Schoenberg,[6] and the following year conducted both the French and British premieres of Pierrot lunaire after multiple rehearsals. And on a trip to the United States in 1922, Milhaud heard "authentic" jazz for the first time, on the streets of Harlem, which left a great impact on his musical outlook. The following year, he completed his composition La création du monde (The Creation of the World), using ideas and idioms from jazz, cast as a ballet in six continuous dance scenes.

In 1925, Milhaud married his cousin, Madeleine (1902–2008), an actress and reciter. In 1930 she gave birth to a son, the painter and sculptor Daniel Milhaud, who was the couple's only child.

The invasion of France by Nazi Germany forced the Milhauds to leave France in 1940 and emigrate to the United States (his Jewish background made it impossible for Milhaud to return to his native country until after its liberation). He secured a teaching post at Mills College in Oakland, California, where he composed the opera Bolivar (1943) and collaborated with Henri Temianka and the Paganini Quartet. In an extraordinary concert there in 1949, the Budapest Quartet performed the composer's 14th String Quartet, followed by the Paganini Quartet's performance of his 15th; and then both ensembles played the two pieces together as an octet. The following year, these same pieces were performed at the Aspen Music Festival in Colorado, by the Paganini and Juilliard String Quartets.

Jazz pianist Dave Brubeck became one of Milhaud's most famous students when Brubeck furthered his music studies at Mills College in the late 1940s. In a February 2010 interview with JazzWax, Brubeck said he attended Mills, a women's college (men were allowed in graduate programs), specifically to study with Milhaud, saying, "Milhaud was an enormously gifted classical composer and teacher who loved jazz and incorporated it into his work. My older brother Howard was his assistant and had taken all of his classes." Brubeck named his first son Darius.

In 1947 Milhaud was among the founders of the Music Academy of the West summer conservatory, where popular songwriter Burt Bacharach was among his students. Milhaud told Bacharach, "Don't be afraid of writing something people can remember and whistle. Don't ever feel discomfited by a melody."

From 1947 to 1971, he taught alternate years at Mills and the Paris Conservatoire, until poor health, which caused him to use a wheelchair during his later years (beginning in the 1930s), compelled him to retire. He also taught on the faculty of the Aspen Music Festival and School. As well as Brubeck, his students included William Bolcom, Steve Reich, Katharine Mulky Warne, and Regina Hansen Willman. He died in Geneva at the age of 81, and he was buried in the Saint-Pierre Cemetery in Aix-en-Provence.

Le boeuf sur le toit
Le Bœuf sur le toit (literally "the ox on the roof"), Op. 58 is a short piece for small orchestra by the composer Darius Milhaud, written in 1919–20. Milhaud conceived the piece as incidental music for any one of the comic silent films of Charlie Chaplin, but it received its premiere as the music for a ballet staged by Jean Cocteau in February 1920.

Milhaud said that he composed Le Bœuf sur le toit as "fifteen minutes of music, rapid and gay, as a background to any Charlie Chaplin silent movie". The composer spent two years in Brazil in the French diplomatic service during the First World War, and was influenced by its music in his own compositions. There have been various explanations of the title: the musicologist James Harding mentions one, that the title was taken from the sign-board of a tavern, and another, that it is from an old Parisian legend of a man in a top-floor flat who insisted on keeping a calf, which grew into a large ox, too big to be removed. Milhaud himself said that it was the title of a Brazilian folk dance.
User avatar
Romain
Happy Up Here
Posts: 5421
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Yann Tiersen - Comptine d'un autre été : L'Après-midi - 2001 - OST

Wikipédia:
Yann Tiersen (born 23 June 1970) is a French musician and composer. His musical career is split between studio recordings, music collaborations and film soundtracks songwriting. His music incorporates a large variety of classical and contemporary instruments, primarily the electric guitar, the piano, synthesisers and the violin, but also instruments such as the melodica, xylophone, toy piano, harpsichord, piano accordion or even typewriter.

Tiersen is often mistaken for a soundtrack composer; as he is quoted about himself: "I'm not a composer and I really don't have a classical background,"but his real focus is on touring and recording studio albums, which are often used for film soundtracks. Tracks taken from his first three studio albums were used for the soundtrack of the 2001 French film Amélie.

Tiersen remained relatively unknown outside France until the release of his score for the acclaimed film Amélie (Original French title: Le Fabuleux Destin d'Amélie Poulain, English: The Fabulous Destiny of Amélie Poulain) in 2001. French film director Jean-Pierre Jeunet had something else in mind for the film score, but one day one of his production assistants put on a CD of Tiersen, and the director found it absolutely superb. Jeunet bought all of Tiersen's albums, and then contacted him to see if the Breton composer was interested in writing the film score for Amélie. In two weeks, Tiersen composed nineteen pieces for the film and also allowed the production to take anything they wanted from his other records. Amélie received great critical acclaim and was a box-office success. The film went on to win the Best Film award at the European Film Awards, four César Awards, including Best Film and Best Director, two BAFTA Awards, including Best Original Screenplay, and was nominated for five Academy Awards. The soundtrack was a mixture of both new and previously released material, and Tiersen was also the recipient of the César Award for Best Music Written for a Film, and of the World Soundtrack Academy award. The soundtrack album charted in many countries, including the number one position on the French Albums Chart.


Music:
Comptine d'un autre été : L'Après-midi is a famous classical music-film music composition for solo piano, by the singer-songwriter Yann Tiersen. Music of the film Le Fabuleux Destin d'Amélie Poulain, by Jean-Pierre Jeunet in 2001, it is part of the original soundtrack, notably winner of a César in 2002 and sold more than a million copies worldwide

Post Reply

Return to “Music, Music, Music...”