France - One song per day.

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Romain
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Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Miossec - Non non non non - 1995

Album: Boire (RYM: 3.75/5)

Artist Biography by Evan C. Gutierrez (Allmusic)

Cristophe Miossec was born to a working-class family in Brest, France, in 1964. In his early teens, he became a devout rock music fan, assembling a group of his own with whom he wrote and performed throughout his late teen years. When Miossec went to university, he turned his attentions away from music completely, studying history while balancing a journalism career. After a short time he tired of formal study and moved to Paris, where he held a series of unrelated jobs.
Frustrated with the direction of his career, Miossec took up music again, little by little, eventually assembling his own studio. In 1995, with the help of friends Guillaume Jouan and Bruno Leroux, Miossec released an all-original record called Boire, which was showered with acclaim.
The trio toured the country to support the release over the following year, drumming up sizable support. The group's follow-up, Baiser, reached an even wider audience and won a Victories de la Musique Best Newcomer of the Year award nomination in 1997. The group's third release, A Prendre, came out a year later to only lukewarm reception. Miossec's downward turn continued with 2001's Brule, which actually lost money. During the busy touring schedule that followed, Miossec and colleagues wrote a large amount of new material. While playing throughout the south of France, the group recorded a live record featuring their new compositions, entitled 1964. The record breathed new life into Miossec's career, marking a new artistic direction for the singer, ten years after his debut.
In 2006, fans welcomed Miossec's sixth studio production, L'Etreinte. The record generated a series of radio hits, reaching his largest listening audience to date.

Je vous téléphone encore, ivre mort au matin
Car aujourd'hui, c'est la Saint Valentin
Et je me remémore notre nuit très bien
Comme un crabe déjà mort
Tu t'ouvrais entre mes mains
Ceci est mon voeu, ceci est ma prière
Je te la fais, les deux genoux à terre

Non non non non non
Non non non non non
Je ne suis plus saoul
Un peu à bout c'est rien
Moi je crois en toi
C'est tout

Allo oui c'est moi encore, écoute moi bien
Moi la nuit quand je m'endors
Je t'imagine très bien
Perdue sous d'autres corps
Me réclamant en vain

Bouffée par les remords de la Saint Valentin

Non non non non non
Non non non non non
Je ne suis plus saoul
Un peu à bout c'est rien
Moi je crois en toi
C'est tout

Mais ne raccroche pas encore, écoute moi bien
Moi je voudrais qu'une fois encore
Tu me prennes pour quelqu'un
Que tes yeux brillent si fort
Comme moi quand je suis plein
Bouffé par les remords de la Saint Valentin

I'm calling again, drunk In the morning
Cause today Is the Valentine Day
And I remember our night very well
Like a dead crab
You opened up in my hands
Here Is my vow, here Is my pray
I'll get my both knees on the ground

Non non non non non
non non non non non
I'm not drunk anymore
A little on the edge Is nothing
I believe In you
That's all

Hello yes It's me again, listen to me carefully
Me at night when I fall asleep
I imagine you very well
Lost In another body
Calling me for nothing

Eaten by the remorse of the Saint Valentine

Non non non non
Non non non non
I'm not drunk anymore
A little bit on the edge Is nothing
I believe In you
That's all

But don't hang up yet , listen to me carefully
I would like one more time
To take me for someone
That your eyes shine so hard
Like me when I'm full
Eaten by the remorse of the Saint Valentine

Thanks to Mustafa Mahmood on LyricsTranslate.
Last edited by Romain on Tue Sep 13, 2016 7:16 pm, edited 3 times in total.
User avatar
Romain
Happy Up Here
Posts: 5452
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Page 9 Adam De La Halle - Jeu de Robin et Marion - 1282 or 1283 - Classical
Page 23 Philippe De Vitry - In Arboris - 1320 - Classical
Page 16 Jean-Baptiste Lully - Marche pour la cérémonie des turcs - 1670 - Classical
Page 14 Marc-Antoine Charpentier - Te Deum - 1688/1698 - Classical
Page 16 Claude Joseph Rouget De Lisle - Chant de Guerre pour l'Armée du Rhin ou La Marseillaise - 1792
Page 11 Adolphe Adam - Minuit, chrétiens - 1847 - Classical
Page 5 Édouard-Léon Scott de Martinville - Au clair de la lune - 1860
Page 1 Georges Bizet - Je crois entendre encore - 1863 - Classical
Page 4 Camille Saint-Saëns - Danse Macabre op 40 - 1874 - Classical
Page 20 Charles-Marie Widor - Symphonie pour orgue n°5 - Toccata - 1879 - Classical
Page 6 Gabriel Fauré - Élégie pour violoncelle et piano, op 24 - 1880 - Classical
Page 7 Jacques Offenbach - Belle nuit, ô nuit d'amour - 1881 - Classical
Page 11 Léo Delibes - Duo des fleurs - 1883 - Classical
Page 19 Emmanuel Chabrier - España - 1883 - Classical
Page 3 Erik Satie - Gymnopédie n°3 - 1888 - Classical
Page 18 Vincent D'Indy - Tableaux de voyage op.33 - Le Glas - 1889 - Classical
Page 13 Ernest Chausson - Concert pour violon, piano et quatuor à cordes en Ré majeur op.21/ 2ème mouvement : Sicilienne - 1892 - Classical
Page 4 Paul Dukas - L'apprenti sorcier - 1897 - Classical
Page 19 Mado Robin - Frou-Frou - 1897
Page 23 Félix Mayol - Viens, Poupoule ! - 1902
Page 3 Claude Debussy - Suite Bergamasque - Clair de lune - 1905 - Classical
Page 13 Mistinguett - Mon Homme - 1916
Page 22 Lili Boulanger - Vieille prière bouddhique - 1917 - Classical
Page 10 Léo Daniderff - Je cherche après Titine - 1917
Page 22 Arthur Honegger - Pacific 231 - 1923 - Classical
Page 8 Darius Milhaud - La Création du monde op.81 - 1923 - Classical
Page 17 Jean Cras - Journal de Bord - 1927 - Partie III : Quart de 4 à 8 - Classical
Page 2 Maurice Ravel - Boléro - 1928 - Classical
Page 9 Berthe Sylva - Les roses blanches - 1925
Page 7 Joséphine Baker - J'ai deux amours - 1930 
Page 3 Lucienne Boyer - Parlez-moi d'amour - 1930
Page 14 Louis Lynel - Ma Normandie - 1930
Page 23 Pauline Carton - Sous les palétuviers - 1934
Page 1 Gaston Ouvrard - Je ne suis pas bien portant - 1934
Page 18 Alibert - Le plus beau tango du monde - 1935
Page 21 Henry Garat - C'est un mauvais garçon - 1936
Page 6 Olivier Messiaen - Fête des belles eaux - 1937 - Classical
Page 3 Django Reinhardt and Stéphane Grappelli - Minor Swing - 1937 - Jazz
Page 8 Ray Ventura - Qu'est-ce qu'on attend pour être heureux ? - 1937
Page 12 Fréhel - La Java Bleue - 1938
Page 18 Rina Ketty - J'attendrai - 1938
Page 2 Mireille et Jean Sablon - Puisque vous partez en voyage - 1938
Page 17 Fernandel - Félicie aussi ! - 1939
Page 21 Jean Lumière - La valse au village - 1939
Page 18 GusViseur - Flambée Montalbanaise - 1940 - Jazz
Page 14 Léo Marjane - Je suis seule ce soir - 1941
Page 12 Anna Marly - Le chant des partisans - 1941
Page 3 Lucienne Delyle - Mon amant de Saint-Jean - 1942
Page 2 Charles Trénet - Que Reste-t'il de nos amours ? - 1942
Page 20 Lina Margy - Ah ! Le petit vin blanc - 1943
Page 12 Anna Marly - La complainte du partisan - 1943
Page 4 Yves Montand - Les Feuilles Mortes - 1945
Page 8 Luis Mariano - La Belle de Cadix - 1945
Page 18 Tino Rossi - Petit papa Noël - 1946
Page 23 Fernand Sardou - Aujourd'hui peut-être - 1946
Page 19 Henri Betti - C'est si bon - 1947
Page 14 Line Renaud - Ma cabane au Canada - 1947
Page 12 Francis Lemarque - À Paris - 1949

Page 22 André Claveau - Domino - 1950
Page 3 Henri Salvador - Le loup, la biche et le chevalier (une chanson douce) - 1950
Page 11 Jean Bretonnière - Sous le ciel de Paris - 1951
Page 17 Mick Micheyl - Un gamin de Paris -1951
Page 1 Brassens & Patachou - Maman, papa - 1952
Page 14 Georges Guetary - La route Fleurie - 1952
Page 7 Maurice Chevalier - Dans la vie faut pas s'en faire - 1953
Page 13 Alain Romans - Quel temps fait-il à Paris - 1953 - OST
Page 13 Cora Vaucaire - La Complainte de la Butte - 1955
Page 9 Boris Vian - Je Bois - 1955
Page 17 René-Louis Lafforgue - Le poseur de rails - 1956
Page 1 Magali Noël - Fais-moi mal, Johnny - 1956
Page 19 Guy Béart - L'eau vive - 1958
Page 15 Anny Flore - Julie la rousse - 1958
Page 7 Jacques Brel - Ne me quitte pas - 1959
Page 21 Philippe Clay - L'accordéon - 1959
Page 20 Roger Guérin - Discord - 1959 - Jazz
Page 22 Darío Moreno - Tout l'amour - 1959

Page 1 Bourvil - C'était bien (au petit bal perdu) - 1960
Page 4 Juliette Gréco - Il n'y a plus d'après - 1960
Page 13 Gilian Hills - Zou bisou bisou - 1960
Page 23 André Hodeir - Jazz et Jazz - 1960 - Jazz
Page 6 Edith Piaf - Non, je ne regrette rien - 1960 
Page 15 Les Double Six - Tickle Toe (Le racket et les balles) - 1961 - Jazz
Page 11 Zizi Jeanmaire - Mon truc en plumes - 1961
Page 14 Marcel Amont - Un Mexicain - 1962
Page 18 Isabelle Aubret - Un premier amour - 1962
Page 12 Maurice Jarre - Lawrence of Arabia - 1962 - OST
Page 19 Michel Magne - Mélodie en sous-sol - Palm Beach thème - 1962 - OST
Page 10 Francis Poulenc - Sonate pour clarinette, 2ème mouvement : Romanza - 1962 - Classical
Page 4 Salvatore Adamo - Tombe la neige - 1963
Page 9 Alain Barrière - Elle était si jolie - 1963
Page 21 Patricia Carli - Demain, tu te maries - 1963
Page 6 Georges Delerue - Le Mépris - Camille - 1963 - OST
Page 22 Colette Magny - Melocoton - 1963
Page 20 Les Mustangs - Drums - 1963
Page 9 Claude Nougaro - Cécile ma fille - 1963 
Page 11 Colette Renard - Les nuits d'une demoiselle - 1963
Page 9 Sheila - L'école est finie - 1963 
Page 7 Soeur Sourire - Dominique - 1963
Page 23 Hélène April - Je m'ennuie - 1964
Page 2 Gilbert Bécaud - Nathalie - 1964
Page 20 Annie Cordy - Six roses - 1964
Page 12 Henri Dutilleux - Métaboles - 1964 - Classical
Page 4 Jean Ferrat - Que serais-je sans toi ? - 1964
Page 2 France Gall - Laisse tomber les filles - 1964
Page 2 Françoise Hardy - La Nuit Est Sur La Ville - 1964
Page 3 Les Parisiennes - Il fait trop beau pour travailler - 1964
Page 8 Antoine Duhamel - Pierrot Le Fou - Ferdinand - 1965 - OST
Page 22 Gribouille - Mathias - 1965
Page 19 Chantal Kelly - Mon ami, mon chien - 1965
Page 10 Les Problèmes - Non, je ne vois rien - 1965
Page 15 Annie Philippe - Tout finit à St. Tropez - 1965
Page 4 Régine - Les P'tits papiers - 1965
Page 5 Hervé Vilard - Capri, c'est fini - 1965
Page 5 Antoine - Les élucubrations - 1966
Page 8 Michèle Arnaud - les papillons Noirs - 1966
Page 4 Hugues Aufray - Céline - 1966
Page 5 Pascal Danel - Les neiges du Kilimanjaro - 1966
Page 15 Chantal Goya - Si tu gagnes au flipper - 1966
Page 9 Francis Lai - Un homme et une femme - 1966 - OST 
Page 10 Les 5 Gentlemen - Si tu reviens chez moi - 1966
Page 14 Les Pros - Drugstore Midnight - 1966
Page 15 Long Chris - Névralgie Particulière - 1966
Page 3 Mireille Mathieu - Paris en colère - 1966
Page 16 Gilbert Safrani - Les gens s'en vont dans le ciel - 1966
Page 14 Zouzou - Il est parti comme il est venu - 1966
Page 10 Charles Aznavour - Emmenez-moi - 1967
Page 1 Brigitte Bardot - Harley Davidson - 1967
Page 22 Clothilde - Saperlipopette - 1967
Page 2 Pierre Henry - Psyché Rock - 1967 - Classical & Electro
Page 16 Marie Laforêt - Mon amour, mon ami - 1967
Page 14 Christie Laume - Rouge Rouge - 1967
Page 16 Christine Pilzer - Ah-Hem-Ho-Uh-Err - 1967
Page 21 Guy Skornik - Fire - 1967
Page 4 Stella - Si vous connaissez quelque-chose de pire qu'un vampire, parlez m'en toujours, ça pourra peut-être me faire sourire - 1967
Page 7 Jacqueline Taïeb - 7 heures du matin - 1967
Page 10 Dominique Walter - Les petits boudins - 1967
Page 2 Barbara - Du bout des lèvres - 1968
Page 18 Barbara - Mon enfance - 1968
Page 23 Richard de Bordeaux & Daniel Beretta - La drogue - 1968
Page 1 Jacques Dutronc - Proverbes - 1968
Page 4 Claude François - Comme d'habitude - 1968
Page 8 Les Goths - Turn Over - 1968
Page 18 Sophie Makhno - Obsessions 68 - 1968
Page 5 Jean-François Michael - Adieu, jolie Candy - 1968
Page 1 Michel Polnareff - Le bal des Laze - 1968
Page 21 Jean-Claude Risset - Computer suite for little boy - 1968 - Classical
Page 21 Victoire Scott - Quatrième Dimension - 1968
Page 18 Patrick Abrial - Fétiche - 1969
Page 18 Alec - L'étranger - 1969
Page 13 Ronnie Bird - Sad Soul - 1969
Page 19 Jacques Charpentier - Pour le Kama Soutra - 1969 - Classical
Page 11 Pierre-Alain Dahan - Slowrama - 1969
Page 11 Mireille Darc - Hélicoptère - 1969
Page 20 Eric Demarsan - Thème de Gerbier - 1969 - OST
Page 19 Docdaïl - Aere Perennius - 1969
Page 3 Serge Gainsbourg - Je t'aime... moi non plus ! - 1969
Page 19 Le Sytème Crapoutchik - L'horrible rêve - 1969
Page 22 Georges Garvarentz - Le temps des loups - OST - 1969
Page 6 Michel Legrand - Les moulins de mon coeur - 1969
Page 9 Jean-Pierre Mirouze - Sexopolis - 1969 - OST
Page 4 Georges Moustaki - Le Métèque - 1969
Page 18 Jean-Claude Oliver - L'invité - 1969
Page 16 Roland Vincent - L.S.D. partie - 1969

Page 21 Jack Arel - Picture of Spring - 1970
Page 15 Baroque Jazz Trio - Zoma - 1970 - Jazz
Page 14 Claude Bolling - Borsalino - Thème - 1970 - OST
Page 7 François De Roubaix - Dernier Domicile Connu - 1970 - OST
Page 20 Jean-Pierre Ferland - Le chat du café des artistes - 1970
Page 3 Jean-Jacques Perrey - E.V.A. - 1970 - Electro
Page 1 Boby Lapointe - Méli-Mélodie - 1970
Page 17 Triangle - Peut-être demain ? - 1970
Page 9 Zanini - Tu veux ou tu veux pas ? - 1970
Page 3 Julien Clerc - Ce n'est rien - 1971
Page 8 Michel Delpech - Pour Un Flirt - 1971
Page 2 Léo Ferré - Avec le temps - 1971
Page 14 Danyel Gérard - Butterfly - 1971
Page 9 Les Poppys - Non, non, rien n'a changé - 1971
Page 23 Raymond Lefèvre - JO - Générique - 1971 - OST
Page 2 Nicoletta - Mamy Blue - 1971
Page 2 Michel Polnareff - Qui A Tué Grand' Maman - 1971
Page 22 Tac Poum Système - Asmodaï - 1971
Page 23 Igor Wakhevitch - Materia Prima - 1971
Page 9 Dominique Blanc-Francard - Ailleurs/Icare - 1972
Page 20 Charles Dumont - Comme une fugue de Bach - 1972
Page 6 Michel Fugain - Une belle histoire - 1972
Page 3 Maxime Le Forestier - San Fransisco - 1972
Page 3 Les variations - Je suis juste un rock'n'roller - 1972
Page 20 Catherine Ribeiro + Alpes - Paix - 1972
Page 13 Véronique Sanson - Amoureuse - 1972 
Page 22 Ann Sorel - L'amour à plusieurs - 1972
Page 3 Jean-Claude Vannier - Les gardes volent au secours du roi - 1972
Page 8 Philippe Besombes - La ville - 1973
Page 17 Vladimir Cosma - L'Affaire Crazy Capo - 1973 - OST
Page 7 Diane Dufresne - J'ai Rencontré L'homme De Ma Vie - 1973
Page 2 Alain Goraguer - La Planète Sauvage - 1973 - OST
Page 22 Pierre Groscolas - Lady Lay - 1973
Page 14 Lafayette Afro Rock Band - Hihache - 1973
Page 15 Serge Lama - Je suis malade - 1973
Page 2 Magma - Mekanïk Destruktïw Kommandöh - 1973/1989
Page 13 Stone et Charden - Made in Normandie - 1973
Page 11 The Peppers - Pepper Box - 1973 - Electro
Page 2 Christophe - Les Mots Bleus - 1974 
Page 3 Dalida - Il venait d'avoir 18 ans - 1974
Page 1 Nino Ferrer - Le sud - 1974
Page 6 Areski et Brigitte Fontaine - C'est normal - 1974
Page 3 Daniel Guichard - Mon vieux - 1974
Page 20 Jean-Claude Pelletier - Hello Streakers! - 1974
Page 20 Joe Dassin - L'été indien - 1975
Page 18 Cortex - La rue - 1975 - Jazz
Page 17 Gérard Grisey - Partiels - 1975 - Classical
Page 18 Harlem pop Trotters - Penwick - 1975
Page 20 Il était une fois - J'ai encore rêvé d'elle - 1975
Page 13 Gérard Lenorman - La Ballade des gens heureux - 1975
Page 3 Gérard Manset - Il voyage en solitaire - 1975
Page 1 Jeanne Moreau - India Song - 1975
Page 11 Janko Nilovic - Drug Song - 1975
Page 20 Pulsar - Pollen - 1975 - Electro
Page 8 Resonance - OK Chicago - 1975
Page 6 Jean Yanne - Chobizeness - Coït - 1975 - OST
Page 3 Jane Birkin - Ballade de Johnny Jane - 1976
Page 4 Jean-Michel Jarre - Oxygène Part IV - 1976 - Electro
Page 16 Michel Colombier - L'Alpagueur - 1976 - OST
Page 3 Philippe Sarde - Le locataire - Main title - 1976 - OST
Page 13 The Droids - The Force - 1976 - Electro
Page 10 Wapassou - Messe en ré mineur - 1976
Page 23 Cerrone - Supernature - 1977
Page 6 Philippe Chatel - J't'aime bien Lili - 1977
Page 12 Yves Duteil - Prendre un enfant - 1977
Page 7 Little Bob Story - Riot in Toulouse - 1977
Page 5 Marie Myriam - L'enfant et l'oiseau - 1977
Page 7 Plastic Bertrand - Ça plane pour moi - 1977
Page 9 Jean-Luc Ponty - Mirage - 1977 - Jazz
Page 11 Zachary Richard - Travailler, c'est trop dur - 1977
Page 23 Yves Simon - Diabolo Menthe - 1977
Page 3 SpAce - Magic Fly - 1977 - Electro
Page 9 Space Art - Onyx - 1977 - Electro
Page 16 A 3 Dans les WC - Contagion - 1978
Page 15 Black Devil - H-Friend - 1978 - Electro
Page 12 Louis Chédid - T'as beau pas être beau - 1978
Page 16 Marie et les Garçons - Re-Bop - 1978
Page 8 Métal Urbain - Paris Maquis - 1978
Pgae 12 Michel Sardou - Je vole - 1978
Page 13 Cabrel - Je l'aime à mourir - 1979
Page 5 Jean-Patrick Capdevielle - Quand t'es dans le désert - 1979
Page 21 Eric Charden - L'été sera chaud - 1979
Page 16 Joël Fajerman - Flowers Love - 1979 - OST
Page 5 Patrick Hernandez - Born to be alive - 1979
Page 18 Lizzy Mercier Descloux - Fire - 1979
Page 12 Jacques Loussier - Pulsion - 1979 - Jazz
Page 1 Pierre Perret - Mon P'tit Loup - 1979
Page 16 Stinky Toys - Birthday Party - 1979

Page 18 Abus Dangereux - Ley Roy est Mort, Vive le Roy - 1980
Page 10 Elli & Jacno - Main dans la main - 1980
Page 6 Le Grand Orchestre du Splendid - La Salsa du démon - 1980
Page 8 Mathématiques Modernes - Disco Rough - 1980
Page 9 Modern Guy - Electrique Sylvie - 1980
Page 15 Tristan Murail - Gondwana - 1980 - Classical & Electro
Page 12 Ottawan - T'es OK - 1980
Page 15 Suicide Roméo - Suicide Roméo - 1980
Page 1 Taxi Girl - Cherchez le garçon - 1980
Page 2 Trust - Antisocial - 1980
Page 18 Pierre Boulez - Répons - 1981 - Classical & Electro
Page22 Comix - Touche pas mon sexe - 1981
Page 5 Patrick Coutin - J'aime regarder les filles - 1981
Page 2 Charlélie Couture - Comme un avion sans aile - 1981
Page 5 Hervé Cristiani - Il est libre Max - 1981 
Page 17 Guerre Froide - Demain Berlin - 1981
Page 15 La Souris Déglinguée - Rock'N'Roll Vengance - 1981
Page 4 Marquis de Sade - Wanda's Loving Boy - 1981
Page 2 Renaud - Manu - 1981
Page 5 Jean Schultheis - Confidence pour confidence - 1981
age 22 Ti Céleste - Testaman - 1981
Page 5 Chagrin d'Amour - Chacun fait c'qui lui plaît - 1982
Page 8 Gérard Blanchard - Rockamadour - 1982
Page 21 Ici Paris - Allo le monde... - 1982
Page 11 Kas Product - Never Come Back - 1982
Page 17 Les Forbans - Chante - 1982
Page 1 Richard Gotainer - La ballade de l'obsédé - 1982
Page 3 Indochine - L'aventurier - 1982
Page 16 Act. - Ping pong - 1983
Page 6 Isabelle Adjani - Pull Marine - 1983 
Page 13 Axel Bauer - Cargo - 1983
Page 17 Jakie Quartz - Mise au point - 1983
Page 13 Martin Dupont - Just Because - 1984
Page 9 Paul Personne - Barjoland - 1984
Page 17 Téléphone - Un autre monde - 1984
Page 18 Daniel Balavoine - Tous les cris, les S.O.S. - 1985
Page 3 Bérurier Noir - Le renard - 1985
Page 5 Bibie - Tout doucement - 1985
Page 3 Jean-Jacques Goldman - Je te donne - 1985
Page 19 Les Visiteurs Du Soir - Je t'écris d'un pays - 1985
Page 3 Michel Jonasz - La boîte de Jazz - 1985
Page 16 Marc Lavoine - Les yeux revolver - 1985
Page 12 Message - Dernière nuit - 1985
Page 21 Partenaire Particulier - Partenaire Particulier - 1985
Page 10 Ruth - Polaroïd/Roman/Photo - 1985
Page 14 Marc Seberg - L'éclaircie - 1985
Page 23 Laurent Voulzy - Belle-Île-en-Mer, Marie-Galante - 1985
Page 14 Buzy - Body Physical - 1986
Page 22 Gold - Ville de lumière - 1986
Page 5 Caroline Loeb - C'est la Ouate - 1986
Page 13 Jean-Claude Petit - Jean de Florette - 1986 - OST
Page 12 Julie Pietri - Ève lève-toi - 1986
Page 7 Stephanie de Monaco - Ouragan - 1986
Page 2 Mylène Farmer - Libertine - 1986
Page 4 La Compagnie Créole - Ca fait rire les oiseaux - 1986
Page 19 Francis Lalanne - On se retrouvera - 1986
Page 19 Les Ablettes - Jackie s'en fout - 1986
Page 10 Images - Les démons de minuit - 1986
Page 6 Elli Medeiros - Toi mon toit - 1986
Page 14 Parabellum - Cayenne - 1986
Page 20 Arnold Turboust - Adelaïde - 1986
Page 19 À Caus' des Garçons - À Cause des Garçons - 1987
Page 17 Anyway - Face au monde - 1987
Page 4 Jean-Louis Aubert - Les plages - 1987
Page 16 Louis Bertignac - Ces idées-là - 1987
Page 5 Desireless - Voyage Voyage - 1987
Page 9 Patricia Kaas - Mademoiselle chante le blues - 1987
Page20 Les Calamités - Vélomoteur - 1987
Page 16 Eddy Louiss - Blues for Klook - 1987 - Jazz
Page 20 Eric Morena - Oh ! Mon bateau - 1987
Page 4 Guesch Patti - Etienne - 1987
Page 23 Michel Portal - Mozambic - 1987 - Jazz
Page 16 Début de Soirée - Nuit de folie - 1988
Page 9 Les Garçons Bouchers - Carnivore - 1988
Page 12 Gipsy King - Djobi Djoba - 1988
Page 3 Bernard Lavilliers - On The Road Again - 1988
Page 12 Lightwave - Le Parvis - 1988 - Electro
Page 22 Mano Negra - Mala Vida - 1988
Page 1 Les Négresses Vertes - Voilà L'été - 1988 
Page 13 Norma Loy - Power of spirit - 1988
Page 6 Princess Erika - Trop de Bla-bla - 1988
Page 11 Eric Serra - Le grand bleu - 1988 - OST
Page 23 Tristan - Bonne bonne humeur ce matin - 1988
Page 21 Dominic Sonic - When My Tears Run Cold - 1989
Page 15 Jad Wio - Ophélie - 1989
Page 23 Maurane - Toutes les mamas - 1989
Page 1 Richard Gotainer - Le Combat De Rock - 1989 
Page 3 Zouk Machine - Maldòn (La musique dans la peau) - 1989

Page 21 Michel Berger - Le paradis blanc - 1990
Page 18 Elmer Food Beat - Daniela - 1990
Page 7 Pauline Ester - Oui, je l'adore - 1990
Page 12 Liane Foly - Au fur et à mesure - 1990
Page 5 Thierry Hazard - Le Jerk - 1990
Page 2 Niagara - J'ai Vu - 1990
Page 18 Vanessa Paradis - Tandem - 1990
Page 1 Pigalle - Dans la salle du bar tabac de la rue des Martyrs - 1990
Page 17 Diane Tell - La légende de jimmy - 1990
Page 19 Joëlle Ursull - White & Black Blues - 1990
Page 22 Assassin - Esclave de votre société - 1991
Page 4 Au P'tit Bonheur - J'Veux du Soleil - 1991
Page 19 Dany Brillant - Suzette - 1991
Page 9 Fédération Française de Funk - New Funk Génération - 1991
Page 6 Les Inconnus - Auteuil, Neuilly, Passy - 1991
Page 14 Jean-Louis Murat - Col de la Croix-Morand - 1991
Page 1 Les Rita Mitsouko - Les Amants - 1991
Page 21 Peter Kitsch - Come On sur mon scoot - 1991
Page 2 William Sheller - un Homme Heureux - 1991
Page 2 Mc Solaar - Bouge de là ! - 1991
Page 18 Deep Forest - Sweet Lullaby - 1992
Page 10 Les innocents - L'autre Finistère - 1992
Page 10 Pow Wow - Le Chat - 1992
Page 19 Regg'Lyss - Mets de l'huile - 1992
Page 2 L'affaire Louis Trio - Mobilis In Mobile - 1993 
Page 13 Billy Ze Kick - Mangez-moi ! Mangez-moi ! - 1993
Page 17 Alain Chamfort - L'ennemi dans la glace - 1993
Page 23 Pascal Comelade - Promenade des Schizophrenes - 1993
Page 17 Axelle Red - Sensualité - 1993
Page 2 Alain Souchon - Foule Sentimentale - 1993 
Page 10 Les Thugs - As happy as possible - 1993
Page 7 Pierre Vassiliu - La vie ça va - 1993
Page 13 Daran et les chaises - Dormir dehors - 1994
Page 7 Gérald De Palmas - Sur La Route - 1994
Page 2 IAM - Le Mia - 1994
Page 20 Lynda Lemay - Le plus fort, c'est mon père - 1994
Page 15 Ministère A.M.E.R. - Plus vite que les balles - 1994
Page 15 Alliance Ethnik - Respect - 1995
Page 4 Dominique A - Le Twenty-Two bar - 1995
Page 24 Miossec - Non non non non - 1995
Page 21 Mütiilation - Born Under the Master’s Spell - 1995
Page 11 Kat Onoma - La Chambre - 1995
Page 2 Suprême NTM - Paris sous les bombes - 1995 
Page 13 Diabologum - La Maman et la Putain - 1996
Page 5 Dimitri from Paris - Sacré Français - 1996 - Electro
Page 6 Doc Gynéco - Nirvana - 1996
Page 4 Juliette - Rimes Féminines - 1996
Page 6 Khaled - Aïcha - 1996
Page 8 Valérie Lemercier - Goûte mes frites - 1996
Page 20 Philippe Léotard - Lonesome Piéton - 1996
Page 14 Motorbass - Flying Fingers - 1996
Page 3 Yann Tiersen - J'suis jamais allé - 1996
Page 17 Tonton David - Chacun sa route - 1996
Page 8 Ophélie Winter - Dieu m'a donné la foi - 1996
Page 3 Daft Punk - Around The World - 1997 - Electro
Page 21 Dolly - Je n'veux pas rester sage - 1997
Page 6 Era - Ameno - 1997
Page 21 Faudel - Tellement je t'aime - 1997
Page 12 Laurent Garnier - Crispy Bacon - 1997 - Electro
Page 10 La Tordue - lola - 1997
Page 20 Les Ogres de Barback - Rue de Panam - 1997
Page 1 Louise Attaque - J't'emmène au vent - 1997
Page 16 Massilia Sound System - Brûle ces papiers - 1997
Page 16 Ménélik - Je me souviens - 1997
Page 19 No One Is Innocent - Nomenklatura - 1997
Page 10 Florent Pagny - Savoir aimer - 1997
Page 17 Rachid Taha - Ya Rayah - 1997
Page 12 Air - Sexy Boy - 1998 - Electro
Page 10 René Aubry - La Grande Cascade - 1998 - Classical
Page 5 Alain Bashung - La nuit je mens - 1998
Page 8 Alex Gopher - The Child - 1998 - Electro
Page 10 Idéal J - Hardcore - 1998
Page 23 Manau - La tribu de Dana - 1998
Page 16 Matmatah - Lambé An Dro - 1998
Page 22 Roudoudou - Peace and Tranquility to Earth - 1998 - Electro
Page 23 Sinclair - Si c'est bon comme ça - 1998
Page 5 Stardust - Music Sounds Better with You - 1998 - Electro
Page 5 Zebda - Tomber le chemise - 1998
Page 8 Thomas Fersen - La Chauve-Souris - 1999
Page 20 Laidy Laistee - Et si... ? - 1999
Page 15 Larusso - Tu m'oublieras - 1999
Page 13 Lofofora - Les Gens - 1999
Page 6 Mr Oizo - Flat Beat - 1999 - Electro
Page 7 Michel Petrucciani - Brazilian Like - 1999 - Jazz
Page 10 Saïan Supa Crew - Angela - 1999
Page 22 Hélène Ségara - Il y a trop de gens qui t'aiment - 1999
Page 12 Tahiti 80 - Heartbeat - 1999
Page 15 Erik Truffaz - Siegfried - 1999 - Jazz

Page 6 Alizée - Moi... Lolita - 2000
Page 23 Françoiz Breut - Si tu disais - 2000
Page 20 Michel Houellebecq - Célibataires - 2000
Page 10 Mirways - Naïve Song - 2000 - Electro
Page 17 Modjo - Lady (Hear me tonight) - 2000 - Electro
Page 11 Nèg' Marrons - 2000
Page 15 Paris Combo - Living Room - 2000
Page 18 Pierpoljak - Maman - 2000
Page 14 St Germain - Rose rouge - 2000 - Electro
Page 2 Etienne Daho et Dani - Comme un Boomerang - 2001
Page 6 Expérience - Aujourd'hui, maintenant - 2001
Page 1 Brigitte Fontaine et Noir Désir - Bis Baby Boum Boum - 2001
Page 13 Gotan Project - Santa Maria - 2001 - Electro
Page 1 Noir Désir - Le vent nous portera - 2001
Page 20 The Supermen Lovers - Starlight - 2001 - Electro
Page 1 Hubert-Félix Thiéfaine - Guichet 102 - 2001
Page 14 Eiffel - Tu vois loin - 2002
Page 2 Johnny Hallyday - Marie ! - 2002
Page 8 Le Peuple de l'Herbe - No Escape - 2002
Page 21 One T - The Magic Key - 2002
Page 10 Sanseverino - Mal ô mains - 2002
Page 4 A.S. Dragon - Dirty - 2003
Page 24 Stéphane Belmondo - Notre Père -2003 - Jazz
Page 12 Carla Bruni - Quelqu'un m'a dit - 2003
Page 18 Alexandre Desplat - Girl with a pearl earring (Griet's Theme) - 2003 - OST
Page 8 Christophe Héral - Hyllian Suite - 2003 VGST
Page 12 La Grande Sophie - Devenir grand (On savait) - 2003
Page 16 Les Fatals Picards - Goldorak est mort - 2003
Page 2 M - Qui de nous deux ? - 2003
Page 5 Mickey 3D - Respire - 2003
Page 5 Tété - A la faveur de l'automne - 2003
Page 6 Keren Ann - La forme et le fond - 2004
Page 23 Anorexia Nervosa - Sister September - 2004
Page 15 Bruno Coulais - Vois sur ton chemin - Les Choristes - 2004 - OST
Page 9 Vincent Delerm - Fanny Ardant et Moi - 2004
Page 11 La Rue Kétanou - Les hommes que j'aime - 2004
Page 17 Passi - Face à la mer (feat Calogero) - 2004
Page 12 Sinsémilia - Tout le bonheur du monde - 2004
Page 15 Bénabar - Le Dîner - 2005
Page 3 Camille - Ta Douleur - 2005
Page 22 Justin(e) - Parle moi - 2005
Page 4 Philippe Katerine - Louxor J'adore - 2005
Page 10 Raphaël - Caravane - 2005
Page 6 Olivia Ruiz - J'traîne des pieds - 2005
Page 13 Ulan Bator - Pensées Massacre - 2005
Page 14 Vitalic - My friend Dario - 2005 - Electro
Page 19 Wax Tailor - Our Dance - 2005 - Electro
Page 7 AaRON - U Turn (Lili) - 2006
Page 23 Babx - Crack Maniac - 2006
Page 17 Bob Sinclar - Rock this party (Everybody dance now) - 2006 - Electro
Page 9 Jeanne Cherhal - Voilà - 2006
Page 20 Debout sur le zinc - La déclaration - 2006
Page 15 Dj Mehdi - Signatune - 2006 - Electro
Page 16 Richard Galliano - Tango pour Claude - 2006 - Jazz
Page 14 Pierre Guimard - Stéphanie - 2006
Page 21 I Love UFO - Like In The Movies - 2006
Page 5 Kamini - Marly-Gomont - 2006
Page 12 Kaolin - Partons vite - 2006
Page 22 Les Shades - Electrique - 2006
Page 5 Renan Luce - La lettre - 2006
Page 9 Mademoiselle K - Ça me vexe - 2006
Page 13 Rinôçérôse - Cubicle - 2006
Page 3 Emilie Simon - Le vieil amant - 2006 - Electro
Page 13 Cocoon - My friends all died in a plane crash - 2007
Page 22 Pauline Croze - Baiser d'adieu - 2007
Page 19 Fatal Bazooka - J'aime trop ton boule - 2007
Page 11 Jil Is Lucky - The Wanderer - 2007
Page 14 Moriarty - Jimmy - 2007
Page 11 Naast - Mauvais Garçon - 2007
Page 17 Ultra Orange & Emmanuelle - Sing Sing - 2007
Page 21 Yelle - Ce jeu - 2007
Page 22 DiscoBitch - C'est beau la bourgeoisie - 2008 - Electro
Page 7 Julien Doré - Les limites - 2008
Page 3 EZ3kiel - Adamantium - 2008 - Electro
Page 16 Grand Corps Malade - Je viens de là - 2008
Page 2 Benjamin Biolay - Brandt Rhapsodie - 2009
Page 1 BB Brunes - Lalalove you - 2009
Page 21 Birdy Nam Nam - The Parachute Ending - 2009 - Electro
Page 11 Diving With Andy - Sugar Sugar - 2009
Page 8 Plastiscines - Barcelona - 2009
Page 10 Chapelier Fou - Darling, Darling, Darling - 2009 - Electro
Page 7 Coeur de Pirate - Comme des enfants - 2009
Page 15 Magnetix - Mort Clinique - 2009
Page 19 Daniel Mille - Fin d'été - 2009 - Jazz
Page 8 Pony Pony Run Run - Hey You - 2009
Page 7 Oxmo Puccino - Soleil du Nord - 2009
Page 1 Anaïs - Mon coeur, mon amour - 2009
Page 19 Yodelice - Sunday with a flu - 2009

Page 5 Ben L'Oncle Soul - Soulman - 2010
Page 11 Cassius - I love you so - 2010 - Electro
Page 8 Arnaud Fleurent-Didier - France Culture - 2010
Paje 12 Camélia Jordana - Calamity Jane - 2010
Page 4 Kavinsky - Nightcall - 2010 - Electro
Page 14 Al'Tarba - Pain Killers - 2011
Page 4 Arthur H - Cheval de Feu - 2011
Page 22 Ludovic Bource - The Artist - Main Theme - 2011 - OST
Page 3 Cascadeur - Walker - 2011
Page 13 Déportivo - Ivres et débutants - 2011
Page 6 M83 - Midnight City - 2011 - Electro
Page 18 Ibrahim Maalouf - Beirut - 2011 - Jazz
Page 17 Izïa Higelin - So much trouble - 2011
Page 21 Le Sacre du Tympan - Plurabella's walk - 2011
Page 19 Oldelaf - La Tristitude - 2011
Page 2 Orelsan - Suicide Social - 2011
Page 18 SebastiAn - Embody - 2011 - Electro
Page 16 Arne Vinzon - Lente dépression - 2011
Page 23 Aline - Je bois, et puis je danse - 2012
Page 11 Bertrand Burgalat - Bardot's Dance - 2012
Page 9 C2C - Down The Road - 2012 - Electro
Page 8 Barbara Carlotti - L'amour, l'argent, le vent - 2012
Page 21 Cobra - Nihilistes - 2012
Page 19 Andy Emler - Good Games - 2012 - Jazz
Page 16 Gojira - L'enfant sauvage - 2012
Page 15 Klub Des loobers - Volutes - 2012
Page 21 Philippe Rombi - Dans la maison - 2012 - OST
Page 9 Rover - Aqualast - 2012
Page 1 Sébastien Tellier - Cochon Ville- 2012
Page 22 Jabberwocky - Photomaton - 2013 - Electro
Page 15 Jérôme Echenoz - Le chrome et le coton - 2013
Page 10 Fauve ≠ - Blizzard - 2013
Page 13 La Femme - Sur la planche 2013 - 2013
Page 16 Indila - Dernière Danse - 2013
Page 7 Mendelson - D'un coup - 2013
Page 1 Moodoïd - De Folie Pure - 2013
Page 9 Petit Fantôme - Peio - 2013 - Electro
Page 4 Zaz - On ira ! - 2013
Page 15 Christine and The Queens - Christine - 2014
Page 20 Dabeull - TR 707 - 2014 - Electro
Page 6 Dorian Pimpernel - OVLAR E - 2014
Page 15 Forever Pavot - Les cigognes nénuphars - 2014
Page 23 Adrien Gallo - Monokini - 2014
Page 21 Marina Kaye - Homeless - 2014
Page 19 Mustang - Le sens des affaires - 2014
Page 10 Shaka ponk - Story O' my LF - 2014
Page 11 Lilly Wood & The Prick - Prayer in C - 2014
Page 8 Kid Francescoli - Blow Up - 2014
Page 10 Charles Pasi - Better with butter - 2014 - Jazz
Page 14 The Avener - Fade Out Lines - 2014 - Electro
Page 19 Jac Berrocal - Solaris - 2015 - Jazz
Page 23 Jain - Come - 2015
Page 20 Feu! Chatterton - La Malinche - 2015
Page 14 Bastien Lallemant - Un million d'années - 2015
Page 18 Bachar Mar-Khalifé - Kyrie Eleison - 2015
Page 23 Juliette Armanet - Manque d'amour - 2016



Before 50's 58
50's 18
60's 87
70's 88
80's 88
90's 88
00's 88
10's 56
571
Last edited by Romain on Tue Sep 13, 2016 8:28 pm, edited 7 times in total.
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Re: France - One song per day.

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NExt song.
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Stéphane Belmondo - Notre Père -2003 - Jazz

Album: Hymne au soleil (RYM: 3.86/5)


Wikipédia:
Stephane Belmondo (born Hyères, Var, July 8, 1967) is a French jazz trumpeter, flugelhornist and drummer. Including recordings made with his brother Lionel Belmondo and Yusef Lateef, he won the best French album category (L'Album français de l'année) in 2003, 2004 and 2005, and the best artist award (L'Artiste ou la Formation instrumentale française de l'année) in 2003 and 2004,. in the French Victoires du Jazz awards. Along with his brother he is noted for tribute albums that involve the musicians being honored.

The Belmondo family say music came naturally to Stephane, before he could even speak. His father, Yvan, was proud of his son, but inflexible when it came down to his musical education. As a former professional saxophonist, he understood the necessity of discipline and practicing music requires. He was able to instill these values into his son from an early age and Belmondo quickly adopted these principles. He first started with drums and percussion instruments at the age of 6, accordion at 8, then he chose to take up the trumpet at ten years old. Belmondo studied accordion and cornet at the Aix-en-Provence Conservatory of Music, before being admitted to the trumpet class of the Marseille Conservatory at 16. Belmondo was 14 when he finally took the stage with his accordion joining the big band led by his father and brother Lionel who played saxophone. When he and his brother started a quintet, Belmondo was 15 years old. By 1986, Belmondo had already won his first prize for trumpet in Marseille. When he arrived Paris to pursue his career, he met pianist René Urtreger, who gave him many opportunities to share the stage, notably with famed double-bassist Niels-Henning Ørsted Pedersen. He also worked with Pierre Michelot and Al Levitt which were among many others. In 1987, shortly after his arrival in Paris, he joined Laurent Cugny’s big band, Lumière. Cugny had convinced arranger Gil Evans to come to France and work on the orchestra’s repertoire. The collaboration resulted in two albums Rhythm-A-Ning and a European tour where Belmondo also recorded and performed with. From 1987 to 1990, he played with pianist Kirk Lightsey’s quartet and bassist Pierre Boussaguet’s quintet, which his brother and Jacky Terrasson was also featured. Working with Boussaguet led to the release of an album called Jazz aux Remparts featuring one of Belmondo's idols, the American trumpeter Tom Harrell.

Belmondo joined Michel Legrand’s big orchestra and took part in 1992 concert at the Olympia where Legrand and Stéphane Grappelli appeared together for the first time. In 1992 he participated in the album Legrand/Grappelli with Legrand and Grapelli. He toured with them around the world. In 1994 Belmondo played in Dee Dee Bridgewater's trio and recorded an album, Love and Peace with them in 1995, which featured Jimmy Smith. In the same year Belmondo moved to New York City. He continued touring with Dee Dee Bridgewater in the US, including shows at the Newport Festival and the Carnegie Hall. During his stay in New York, he played with many musicians, including Al Foster, Mark Turner, Lew Tabackin, Donald Brown and Franck Amsallem. He recorded with pianist Donald Brown and his quartet performed at the Blue Note. In 2002, in celebration of the fifteenth anniversary of Chet Baker’s death, Belmondo performed with Jean-Louis Rassinfosse and Philip Catherine, two of Baker’s former partners.

Returning to Paris, he recorded his first solo album Wonderland in 2004, interpreting a collection of Stevie Wonder songs. This album won Belmondo two Victoires du Jazz awards in France, in 2005. Belmondo met the saxophone and flute player Yusef Lateef and they together made an album called Influence (2005). Shortly after this, his group, including Yusef Lateef, toured Europe and around the world until 2008.

In 2008 Belmondo recorded with the great Brazilian singer, Milton Nascimento and they toured together.

Belmondo was also part of the development of new bugle and trumpet models which are marketed under the name “Concept TT” by the instrument maker Selmer.
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Re: France - One song per day.

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Next song.
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Colette Dereal - La valse folle - 1963

Wikipédia:
Colette Deréal (born Colette Denise de Glarélial; 22 September 1927 in Saint-Cyr-l'École, Seine-et-Oise (now Yvelines), France – 12 April 1988 in Monaco) was a French actress and singer.
In 1961, Deréal represented Monaco in the Eurovision Song Contest 1961, with the song "Allons, allons les enfants" (Let's go, let's go children). Deréal finished joint tenth place with the Finnish entry "Valoa ikkunassa" (The lights in the window) sung by Laila Kinnunen and the Dutch entry "Wat een dag" (What a day) sung by Greetje Kauffeld, receiving six points.

Un, deux
Ouvrez-vous en deux
Trois
Et tenez-vous droit
Quatre
La pose est ingrate
Cinq
Mais c´est sain
Six
Pour cet exercice
Sept
Voici la recette
Huit
Pour vous sentir neuf
Dix
Pour avoir la grâce
Avoir le maintien
Les leçons de danse
Vous feront du bien
Pour évoluer
Dans la société
Apprenez bien la danse
Danse, danse

Pour avoir beaucoup de prestance
Beaucoup d´élégance, beaucoup de présence
Croyez-moi, pour vous conserver
Pour garder plus longtemps vos idées
Croyez-moi, un, deux, trois
Comme moi, faut danser
Car la danse, oui, la danse...

Un, deux
C'est académique
Mac
Cette gymnastique
Toc
Qui nous rend sublime
Blum
Ça donne chaud
Son
Les jetés-battus
Tu
Bien haut sur la pointe
Bic
Ce que c´est joli
Car
Mieux que toutes les crèmes
Les soins de beauté
Sachez que la danse est à conseiller
Et pour vos enfants
Commencez maintenant
Apprenez-leur la danse
Danse, danse

Que l´on veuille être comédien
Académicien ou politicien
Croyez-moi, on a intérêt
À ne pas s´entortiller les pieds
Croyez-moi, un, deux, trois
Comme moi, faut danser
Car la danse, oui, la danse...

Debout
Ou bien sur le dos

Il faut s´entourer
Mi
De quelques amis
Fa
Sur le sol

On n´est pas assis
Do
Pour ne pas tomber
Mol
Arrêtez-vous donc
Dièse
Un deux trois quatre cinq
Do ré mi fa sol
Cette valse-là
Est valse un peu folle
Mais vous serez sublimes
Vous serez en plein blum
Mais oui, grâce à la danse
Danse, danse

Vous aurez le jarret qui tient
Jamais mal aux reins si chaque matin
Comme moi, pour vous conserver
Pour garder plus longtemps vos idées
Vous dansez pour garder sa santé
Croyez-moi, il faut danser !


Crazy waltz

One, two
split wide open1
Three
and stand straight
Four
the pose is demanding
Five
but it's healthy
Six
for this exercise
Seven
here is the recipe
Eight
to feel renewed
Ten
to get the grace
get the composure
dance lessons
will do you some good.
To move forth
in society
learn your dancing well
dance, dance

To have a lot of presence,
a lot of elegance, an imposing bearing
believe me, to preserve yourself,
to keep your ideas longer2
believe me, one, two, three,
you have to dance like me,
because the dance, yes, the dance...

One, two
it's acamedmic
Mac3
this exercise
Toc
that makes us sublime
Blum
it warms you up
Son
the jeté-battus
Tu
right high on the toes
Bic
it's so beautiful
Coz
better than any cream
and beauty treatment
know that dance is advisable
As for your children,
start right away.
Teach them how to dance
dance, dance

Would you want to be an actor,
a member of the academy or a politician,
believe me, it's in your interest
to avoid tripping on your own feet.
Believe me, one, two, three,
you have to dance like me.
Because the dance, yes, the dance...

Upright
or on your back
D4
You have to surround yourself
E
with a few friends
F
on the ground(G)
A(there)
We're not sitting(B)
C
so as not to fall
flat5
Stop, I said
sharp
One two three four five
C D E F G
This very waltz
is (a) somewhat crazy waltz
still you'll be sublime
you will bloom to the fullest
indeed, thanks to dance
Dance, dance

Your knees will be strong
and your kidneys will never ache if every morning
like me, to preserve yourself,
to keep your ideas longer,
you danse to keep you healthy.
Believe me, you just must dance!

Translator notes:

1. ??? maybe a technical dance term I don't know about
2. ??? that's a rather strange thing to say in French. I suppose the idea is to stay focussed or something
3. Throwing in weird sounds in the middle of songs was fashionable in the 60's
4. as a musical note
5. The French uses the "bé" of "tomber" as the begining of "bémol" (flat). "mol" has no meaning in itself, except an archaic form of "mou"(soft), but I doubt the pun goes so far

Thanks to petitélève on LyricsTranslate.
Note by me: a completly untranslatable song. Pun ! Pun everywhere !
Last edited by Romain on Fri Sep 22, 2023 1:04 pm, edited 3 times in total.
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Re: France - One song per day.

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Next song.
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Pierre Schaeffer - Cinq Etudes de bruits - 1948 - Classical & Electro


Artist Biography by Jason Ankeny (Allmusic)

The father of musique concrète, French composer Pierre Schaeffer was among the most visionary artists of the postwar era; through the creation of abstract sound mosaics divorced from conventional musical theory, he pioneered a sonic revolution which continues to resonate across the contemporary cultural landscape, most deeply in the grooves of hip-hop and electronica. Born in 1910, Schaeffer was not a trained musician or composer, but was instead working as a radio engineer when he founded the RTF electronic studio in 1944 to begin his first experiments in what would ultimately be dubbed "musique concrète." Working with found fragments of sound -- both musical and environmental in origin -- he assembled his first tape-machine pieces, collages of noise manipulated through changes in pitch, duration and amplitude; the end result heralded a radical new interpretation of musical form and perception.

In October 1948, Schaeffer broadcast his first public piece, Etude aux Chemins de Fer, over French radio airwaves; although the public reaction ranged from comic disbelief to genuine outrage, many composers and performers were intrigued, among them Pierre Henry, who in 1949 joined the RTF staff, as well as future collaborators Luc Ferrari and Iannis Xenakis. (Olivier Messiaen was also a guest, bringing with him students Karlheinz Stockhausen and Pierre Boulez.) Schaeffer forged on, in 1948 completing Etude Pathetique, which in its frenetic mix of sampled voices anticipated the emergence of hip-hop scratching techniques by over a generation; by 1949's Suite pour 14 Instruments, he had turned to neo-classical textures, distorted virtually beyond recognition. In 1950, Schaeffer and Henry collaborated on Symphonie pour un homme seul, a 12-movement work employing the sounds of the human body.

Working with the classically-trained Henry on subsequent pieces including Variations Sur une Flute Mexicaine and Orphee 51 clearly informed Schaeffer's later projects, as he soon adopted a more accessible musical approach. Together, the two men also co-founded the Groupe de Musique Concrète in 1951; later rechristened the Groupe de Recherches Musicales, or GRM, their studio became the launching pad behind some of the most crucial electronic music compositions of the era, among them Edgard Varèse's Deserts. However, by the end of the decade most of the GRM's members grew increasingly disenchanted with the painstaking efforts required to construct pieces from vinyl records and magnetic tape; after later, tightly-constructed works like 1958's Etude aux Sons Animes and the next year's Etudes aux Objets, even Schaeffer himself announced his retirement from music in 1960.

Leaving the GRM in the hands of Francois Bayle, some months later Schaeffer founded the research center of the Office of French Television Broadcasting, serving as its director from 1960 to 1975; in 1967, he also published an essay titled "Musique Concrète: What Do I Know?" which largely dismissed the principles behind his groundbreaking work, concluding that what music now needed was "searchers," not "auteurs." In later years, Schaeffer did explore areas of psycho-acoustic research which he dubbed Traite de Objets Musicaux (TOM); these experiments yielded one final piece, the 11-minute Le Triedre Fertile. He also hit the lecture circuit and agreed to produce radio presentations. Pierre Schaeffer died in Aix-en-Provence on August 19, 1995.

Influence:
Pierre's aforementioned student in GRM, Jean Michel Jarre, went on to great international success in his own musical career. Jarre's 1997 album, Oxygene 7-13, is dedicated to Schaeffer. Pierre Henry also made a tribute to the man, composing his Écho d'Orphée, Pour P. Schaeffer alongside him for Schaeffer's last work and second compilation, L'Œuvre Musicale. His other notable pupils include Joanna Bruzdowicz, Bernard Parmegiani, Micheline Coulombe Saint-Marcoux, Armando Santiago, Elzbieta Sikora.

Many rap albums, such as It Takes A Nation of Millions To Hold Us Back by Public Enemy and 3 Feet High And Rising by De La Soul take ordinary sounds and use them to create a finished product.

__________________________________________________________________________________________________________


Musique Concrète:
Wikipédia:
Musique concrète (French pronunciation: ​[myzik kɔ̃.kʁɛt], meaning "concrete music") is a genre of electroacoustic music that is made in part from acousmatic sound, or sound without an apparent originating cause. 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. Originally contrasted with "pure" elektronische Musik (based solely on the production and manipulation of electronically produced sounds rather than recorded sounds), the theoretical basis of musique concrète as a compositional practice was developed by Pierre Schaeffer, beginning in the early 1940s.


The term musique concrète (French for "real music", literally "concrete music"), was coined by Schaeffer in 1948. Schaeffer believed traditionally classical (or as he called it, "serious") music begins as an abstraction (musical notation) that is later produced as audible music. Musique concrète, by contrast, strives to start with the "concrete" sounds that emanate from base phenomena and then abstracts them into a composition. The term musique concrète is then, in essence, the breaking down of the structured production of traditional instruments, harmony, rhythm, and even music theory itself, in an attempt to reconstruct music from the bottom up.

From the contemporary point of view, the importance of Schaeffer's musique concrète is threefold. He developed the concept of including any and all sounds into the vocabulary of music. At first he concentrated on working with sounds other than those produced by traditional musical instruments. Later on, he found it was possible to remove the familiarity of musical instrument sounds and abstract them further by techniques such as removing the attack of the recorded sound. He was among the first musicians to manipulate recorded sound for the purpose of using it in conjunction with other sounds in order to compose a musical piece. Techniques such as tape looping and tape splicing were used in his research, often comparing to sound collage. The advent of Schaeffer's manipulation of recorded sound became possible only with technologies that were developed after World War II had ended in Europe. His work is recognized today as an essential precursor to contemporary sampling practices. Schaeffer was among the first to use recording technology in a creative and specifically musical way, harnessing the power of electronic and experimental instruments in a manner similar to Luigi Russolo, whom he admired and from whose work he drew inspiration.

Furthermore, he emphasized the importance of "playing" (in his terms, jeu) in the creation of music. Schaeffer's idea of jeu comes from the French verb jouer, which carries the same double meaning as the English verb play: 'to enjoy oneself by interacting with one's surroundings', as well as 'to operate a musical instrument'. This notion is at the core of the concept of musique concrète, and reflects on freely improvised sound, or perhaps more specifically electroacoustic improvisation, from the standpoint of Schaeffer's work and research.

Groupe de Recherche de Musique Concrète
Wikipédia:
By 1951 the work of Schaeffer, composer-percussionist Pierre Henry, and sound engineer Jacques Poullin had received official recognition and The Groupe de Recherches de Musique Concrète, Club d 'Essai de la Radiodiffusion-Télévision Française was established at RTF in Paris, the ancestor of the ORTF (Lange 2009, 173). At RTF the GRMC established the first purpose-built electroacoustic music studio. It quickly attracted many who either were or were later to become notable composers, including Olivier Messiaen, Pierre Boulez, Jean Barraqué, Karlheinz Stockhausen, Edgard Varèse, Iannis Xenakis, Michel Philippot, and Arthur Honegger. Compositional output from 1951 to 1953 comprised Étude I (1951) and Étude II (1951) by Boulez, Timbres-durées (1952) by Messiaen, Konkrete Etüde (1952) by Stockhausen, Le microphone bien tempéré (1952) and La voile d’Orphée (1953) by Henry, Étude I (1953) by Philippot, Étude (1953) by Barraqué, the mixed pieces Toute la lyre (1951) and Orphée 53 (1953) by Schaeffer/Henry, and the film music Masquerage (1952) by Schaeffer and Astrologie (1953) by Henry. In 1954 Varèse and Honegger visited to work on the tape parts of Déserts and La rivière endormie (Palombini 1999).

In the early and mid 1950s Schaeffer's commitments to RTF included official missions which often required extended absences from the studios. This led him to invest Philippe Arthuys with responsibility for the GRMC in his absence, with Pierre Henry operating as Director of Works. Pierre Henry’s composing talent developed greatly during this period at the GRMC and he worked with experimental filmmakers such as Max de Haas, Jean Gremillon, Enrico Fulchignoni, and Jean Rouch, and with choreographers including Dick Sanders and Maurice Béjart (Gayou 2007, 206). Schaeffer returned to run the group at the end of 1957, and immediately stated his disapproval of the direction the GRMC had taken. A proposal was then made to "renew completely the spirit, the methods and the personnel of the Group, with a view to undertake research and to offer a much needed welcome to young composers" (Gayou 2007, 207).

Wikipédia:
Cinq études de bruits (Five Studies of Noises) is a collection of musical compositions by Pierre Schaeffer. The five études were composed in 1948 and are the earliest pieces of musique concrète, a form of electroacoustic music that utilises recorded sounds as a compositional resource.

The five études were composed at the studio Schaeffer established at RTF (now ORTF), Studio d'Essai. They are:

Étude aux chemins de fer - trains
Étude aux tourniquets - toy tops and percussion instruments
Étude violette - piano sounds recorded for Schaeffer by Boulez
Étude noire - piano sounds recorded for Schaeffer by Boulez
Étude pathétique - sauce pans, canal boats, singing, speech, harmonica, piano

The works were premiered via a broadcast on 5 October 1948, titled Concert de bruits.
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Re: France - One song per day.

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Re: France - One song per day.

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Facteurs Chevaux - Les dames de pluie - 2016

Album: La maison sous les eaux

Télérama (Google Translate)
Urban, hikers on the slopes of Chartreuse, the Alpine see every day. Two who begin to sing, this is rare. And when they produce harmonies back to the dawn of time to illuminate the area, this is a case of immediate reporting. Thus, Les facteurs chevaux, emptying their musette of songs bought it looks for three in a former antique dealer and then recycled, customized, put in space, make the news. It lends an ear, looking at: already seen, heard somewhere. Sammy Decoster (bearded), spotted in 2009 with Tucumcari, folk-rock of highway. Fabien Guidollet (hairless), half of the precious duo Verone, three albums, including two made with ... Decoster.
This complicity create today another sound. In the house of these factors will be identified fleeting ghosts: the Nino Ferrer dark and bucolic, Leonard Cohen clutching the collar of his jacket Partisan, the Polnareff Bal des Laze, Manset in its most secret garden ... We perceive as the echo from the Fleet Foxes appropriating the medieval chant. But beyond all mannerism is needed here evidence of staggering times this chorus two that illuminates If the big if, that its current autoharp in Les Renards, top of the album with the title track . And a sense, all the stronger it is strange that music could only be expressed in that language. So Facteurs Chevaux, without particular link, weaves with Arlt, Sourdure or Pain-Noir fragile ties a underground people came reinhabit our land.

Les fleurs ne se coupent pas
Car leur cœur, sinon, flétrit...
Elles flanchent, comme les soldats,
Sous les franges d'une longue pluie...

Et même si on l'oublie,
Leurs ombres dansent sur le chemin des Dames de pluie

Mmmm-mmmm

Et toi, qui ne dors pas,
Tu hantes une longue nuit...
Où siffle la mitraille,
Où les tranchées se mutinent...
Car toi, qui ne bouges pas,
Ils t'ont creusé ton lit,
Par matin de brouillard
Quand les fuyards on fusille...

Et même si on t'oublie
Ton ombre danse sur le chemin des Dames de pluie
Et même si on t'oublie
Ton ombre danse sur le chemin des Dames de pluie

De la craie, des os,
Rongés par les rats d'eau,
Remplissent les boyaux...
De la craie et des os
Remplissent les boyaux
Où crève le troupeau...

Du fond de la crevasse
D'où remontent parfois
Les cris...
Tu supplies pour ta grâce,
Mais ta mémoire on mutile...
Car toi, qui ne comptes pas,
Tu restes en première ligne...
Certains soirs, ta silhouette
Sur le plateau se dessine...

Et même si on t'oublie
Ton ombre danse sur le chemin des Dames de pluie
Et même si on t'oublie
Ton ombre danse sur le chemin
Ton ombre danse sur le chemin des Dames de pluie

Transcription by Faëriel on LyricsTranslate.

Flowers are not picked
since otherwise their hearts would wither...
They give up hope, like soldiers,
under the fringes of a long downpour...

and even if we forget it,
their shadows dance on the path of the Ladies of rain.

Mmmm-mmmm

And you, who are not asleep,
you haunt a long night...
where the bullets hiss1,
where the trenches mutiny...
Since you, who don't move,
they've dug a new bed for you,
on a foggy morning
when they execute the runaways2...

And even if we forget you
your shadow dances on the path of the Ladies3 of rain.
And even if we forget you
your shadow dances on the path of the Ladies of rain.

Some chalk4, some bones,
gnawed by water rats
fill up the trenches...
Some chalk and some bones
fill up the trenches
where the troops are dying...

From the bottom of the crevice
from which sometimes screams
come up...
You beg for mercy
but some defame your memory...
Because you, who don't count,
you remain on the front line...
some nights your silhouette
is drawn on the top...

And even if we forget you
your shadow dances on the path of the Ladies of rain.
And even if we forget you
your shadow dances on the path,
your shadow dances on the path of the Ladies of rain.

1. or buzz
2. Presumably this was before Nivelle was forced to resign, as after Pétain took over this sector only 28 men (these 28 had actually fired on their officers, not just run away) of 629 who had been sentenced to death were executed
3. The chemin des Dames was an area of much fighting throughout WW1, including the 1st, 2nd and 3rd battles of the Aisne and finally some smaller scale but still heavy fighting lasting about 10 weeks in the late summer of 1918, part of the battle of the Marne. The song probably remembers the 2nd battle of the Aisne, in which the French suffered perhaps 271000 casualties and the Germans perhaps 163000
4. the ground in of ths area is chalk and clay

Translator comments :
Hard to find a good word for "troupeau" at the end of the 3rd stanze. I was somewhat tempted to translate it literally (as "undisciplined mob" or "crowd of blind fools") but thought that there must be some other meaning more sympathetic to the people refered to because the song feels as if it's on their side, so came up with "troops" which makes sense in context and is pretty neutral but is not of course one of the meanings of "troupeau" that I've come across.
I think it's clear that "mitraille" means bullets here because (i) trench warfare was mainly rifles and machineguns, not grapeshot and (ii) "siffler" is not the noise of a machine gun, so the other literal meanings are ruled out (and the figurative meanings don't seem to me to fit).
Thanks to michealt on LyricsTranslate.
Last edited by Romain on Tue Oct 04, 2016 11:12 am, edited 4 times in total.
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Re: France - One song per day.

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Re: France - One song per day.

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Mc Jean-Gab'1 - Donjon - 2003

Album: Ma vie (RYM: 3.20/5)

Wikipédia (Google Translate)
MC Jean Gab'1, whose real name Charles M'Bouss, born 28 January 1967 in Paris, is an actor, rapper, writer and French television presenter. Young, he was orphaned when his father, after a difficult divorce lived, blind mother and the lover of his mother. He finds himself in the DASS, then switches to the crime and banditry in gangs, and a string of years in prison between France and Germany.

In 2003, he published his album My life, which contains the single J't'emmerde controversy, thanks to which it quickly popularized. Despite having released two studio albums, he does not consider however rapper. It is better defined as an artist, and put the rap in last among its various activities.

For Libération, MC Jean Gab'1 "has the most bitter CV of French hip-hop." For Télérama, it is "the big mouth of the French rap." PurePeople highlights its "outspoken".
[Couplet 1]
Souvenirs ancrés, pas si lointains
Du temps où j'me pougnais sans fin et en vain
Seul, livré à moi-même
J'suis un arrivant plutôt un revenant
Cette fois c'est corsé, le verdict est tombé
Les jurés n'm'avaient pas à la bonne
Y a pas mort d'homme mais c'est tout comme
Tu peux miauler, te trancher les artères fais un choix
Ok j'le mérite mais il pourrait bien que ça s'fritte
Car les lardus m'chauffent, envie d'coller des gaufres
J'pourrais m'estimer heureux car d'autre on était fumés à Auschwitz
J'ai la scoumoune au pays de la choucroute
Mon espace vital : que dalle à part un chiotte
Et une crotte laissée par un ex, j'suis furax ma gueule
Y a de quoi dev'nir à la masse
Bref chaise-table et pas d'miroir milord pour r'luquer l'désastre
Et leurs calfouettes kangourous me serrent les burnes
Et mon costume taillé sur crapule bleu-gris dégueulasse
Et mes godasses dans le genre Chaplin, orthopédique
Matte le plumard ! « Scheiße » !

[Paroles en Allemand]
[Refrain]
Allez en rang, écarte les jambes, baisse toi !
Donjon
En rang, écarte les jambes, baisse toi !
Donjon
Allez c'est bon tu peux ripper

[Couplet 2]
Un quart d'heure avant 6
L'enflé d'service sort d'ma boîte section 6
Promenades et douches chrono surtout donne pas ton dos
Car l'histoire d'la savonnette est fumée depuis bonne lurette
Certains vilains, depuis longtemps aux oubliettes en veulent à ta cave
A toi de n'pas leurs r'filer les clefs
Sans quoi ton oignon aura un tas d'compagnons et peu de compassion
Communication inexistante, contact à éviter
Jactent tous anglais comme Nordine Azour et t'en as vite fait l'tour
Parqués comme au salon d'l'agriculture, tueurs palestiniens
Lybiens, syriens, rom, yougo, ruskov, chacun son enclos, putain d'cheptels
J'suis mal barré, l'seul bronzé j'emmerde tout l'monde
Là-bas, t'apprends vite, tout seul tu peux pas faire grand chose
A moins d'te dégoter des alliés, l'union fait la force
Si tu tiens pas à t'faire cacheter faudra jouer les Kaiser et faudra saucer sinon...
Écroué mon numéro chie d'ssus, m'en balance par dessus l'épaule
J'suis chez les chleus et leur gage-lan, j'pige peu
J'aurais aimé valdinguer à Fleury, à Paris avec les potos de téci
Mais ici c'est pas la garderie l'ami :
Psychopathes, nécrophiles et aut' tarés qu'ont le bulbe de traviole
Ici on fabrique des tafioles, les vocations s'forment
Y avaient des types rien d'féminin et pourtant c'était des tapins
Sont rentrés comme boulanger et on eu l'droit aux plombiers
Avec le temps et la craie on d'vient consentant
Un vrai cinoche ma gueule
Au premier on t'surine sec
Au deuxième on t'donne a sec
Au troisième on t'jette
Et du quatrième on fait la fête
39% d'pertes nationales dans un bled bien radical
Tu peux finir dans les annales
Aller c'est bon tu peux ripper

[Refrain en allemand]

Aller c'est bon tu peux ripper

[Couplet 3]
Respecté en tant que braqueur
Travailler serait tout mon contraire
Et pour rien au monde j'irais tailler des pipes
J'suis fixé, j'suis chez les fritz
Et y a pas d'grace c'qui t'évites de sales menaces par les enclumes de service
On a déjà pas voulu d'eux en tant qu'keuf
Et ces PDs passent plus de temps avec nous qu'avec leur meufs
C'est louche...
Vl'à l'meilleur moment pour ceux qui veulent tâter d'la marchandise
Ou une mocheté, "spreche", visite
Pense à ma frustration alors qu'tu veux tringler un fion
Toutes ces dindes qui v'naient m'siffler la même chanson
Dans l'genre « on s'marira, on f'ra un môme »
Alors que t'es toujours au donjon
Bref, pas gober jactances d'évangiles, surtout si ça claque des cils
Elle s'est natchave avec ton poto, le seul pour qui elle se faisait belle
Le seul par qui elle avait d'mes nouvelles
Avant on javait que d'nous, maintenant que d'lui
Et quand j'déjante elle tire une tronche
Alors qu'elle vient d'se faire troncher
Il a fait ça pour toi, alors il met un coup pour toi
Ton pire ennemi c'est pas lui mais toi
Alors becter les restes en fermant ton clapet
Sinon on va te jeter à Ikéla ma gueule
Oublie ton [?] si tu crois péter les plombs
On est tous des bonhommes
Jusqu'au jour où on est confronté à des situations inhabituelles
Et là tu t'pinces et tu t'demandes si c'est réel
Souvenirs bien ancrés au goût amer comme le café sans sucre
Et la bouffe sans sel, servis par des balances d'auxi

[Passage en Allemand]
*****
Und ich fick euch alle !

Aller c'est bon tu peux ripper
Donjon x7
Hé, aller c'est bon tu peux ripper
Donjon x8

[1st verse]
Not so distant, deep rooted memories
of the time I jerked off ceaslessly and in vain,
alone, fending for myself.
I'm a newcomer, or rather a ghost1
This time I got a packet, the verdict is returned.
The jury members did not like my face.
It's not the end of the world, but pretty close.
You can whimper or cut your arteries, make a choice.
Sure I deserve it, now I could get into a fight
coz the pigs are getting on my nerves, ough to hit them.
I could feel lucky coz some went up in smoke in Auschwitz.
I'm out of luck in Krautland.
My living space: nothing except a bog
and a turd left by a predecessor. I'm fucking enraged.
This can drive you crazy.
In short, a chair, a table and no mirror to watch the disaster
and their pouch briefs squeezing my balls
and my lousy bluish-grey crook suit
and my Chaplin-style orthopedic shoes.
Have a look at the pallet! Shit!

Welcome, gentlemen.
This is reality
???

[chorus]
Fall in, spread your legs, bend over!
Dungeon
Fall in, spread your legs, bend over!
Dungeon
Okay, now get lost

[2nd verse]
A quarter to six
The usual bastard gets out of my cell in section 6
Quick exercise and shover, whatever you do, don't show your back
since the soap trick has long become old
Some bad guys rotting there for too long are after your butt,
it's up to you not to let them in,
or else your asshole will see a lot of company and very little compassion
Inexistent communication, contact to be avoided
They all blabber in English like your average towelhead, you soon get the trick
Penned like cattle in an agricultural show, Palestininan,
Lybian, Syrian killers, Rom , Yugoslavs, Ivans, to each his pen.
Fucking herds.
I'm off to a bad start, the only Nigger, I get on everybody's nerves
Down there, you soon learn you can't do a thing by yourself,
unless you find some allies, united we stand
If you'd rather not get mauled, you'll have to play the Kaiser and work your mouth2, or else...
Arrested, I shit on my number, I don't give a damn about it.
I am in Kraut country, and I don't get much of their language
I would have liked to land in Fleury3, in Paris with the homies
But here it's no kindergarden, bro:
psychopats, necrophiles and other weirdos with a screw loose
It's a fag factory here, life callings are found
There were some pretty manly guy who were still whores
They started straight but the fags paid them a visit
With time and ?chalk?4 you end up consenting
Like in the movies, man.
On 1st floor you get knifed real good
On 2nd floor you get your ass busted
On 3rd floor they throw you down
On 4th floor it's party(drug) time
39% national losses in a pretty radical joint5
You can end up in a record book
Okay, now get lost.

Shut your trap with your stories
Your move ?points at my asshole?

Okay, now get lost

[3rd verse]
Respected as an armed robber,
Work would be the last thing I'll do
And I would never ever do blow jobs
Now I know, I'm in Krautland
And there is no grace to avoid serious threats from the wardens
They were rejected even as pigs
and these fags are spending more time with us than with their chicks.
That's fishy...
Here comes the best moment for those who want to see chicks
or boilers. "Spreche", visit
Imagine my frustration as I wanted to fuck an ass
All these geeses playing the same old tune to me
going "we'll get married, we'll have a kid"
while I still sit in the dungeon
In short, don't you believe these gospels, especially when they bat their eyelashes
She hooked up with your homie, the only one she spruced herself up for
The only one throgh whom she got news of me
Before, we only talked about us, now we only talk about him
And when I blow a fuse she makes a face
while she got fucked a moment before6
He did it for you, so now he shags her for you
Your worst enemy is not him, it's you
So you eat the crumbs and shut your mouth
or else you'll be thrown into the slammer
Forget your ?name? if you think yo're losing it
We are all big men
until we face unusual situations
And then you pinch yourself and wonder if it's real
Deep rooted memories with a bitter taste like coffee with no sugar
And grub without salt, served by suppletive warden snitches

???
And I fuck you all

Okay, now get lost
Dungeon (x7)
Okay, now you can get lost
Dungeon (x8)


Comments by the translator:
1. implies the idea of "coming back" (from the dead)
2. that would be a very dated slang term for "give someone a good telling off"
3. Fleury-Mérogis, a famous jail near Paris
4. might be slang for cocaine, but I don't see what it would mean here
5. frankly I don't understand this line

Thanks to Petit Elève on LyricsTranslate.
6. I did not bother to try to render the pun on tronche(face)/troncher(fuck)
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Re: France - One song per day.

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Next song.
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Re: France - One song per day.

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Soldat Louis - Du rhum, des femmes - 1988

Album: Première bordée (RYM: 3.39/5)

Wikipédia:
Soldat Louis are a French rock group originally from Lorient, who mix the traditional music of Brittany with typical rock music instruments - electric and acoustic guitar, drum kit, etc. - as well as the traditional bagpipes (biniou braz in Breton) and bombard. The two founding members, who are still playing in the group today, are Renaud Detressan (alias Gary Wicknam) and Serge Danet (alias Soldat Louis, “Private Louis”).

Soldat Louis's first album, Première bordée appeared in 1988. The band played as support to the solo singer-songwriter Renaud, in his series of concerts at the Zénith in Paris the following year. The first single from that album, “Du rhum des femmes”, projected them to national exposure, with the single selling 750,000 copies, and the album went double gold. During the "golden age" of the French Top 50, chansons de comptoir (bar songs) were à la mode ("Allez viens boire un p'tit coup à la maison" etc.) and Soldat Louis found themselves associated with this musical style.

Their second album was released two years after their first: "Pavillon Noir", however, did not achieve the same success, and nor did any of the albums that followed. Despite disappearing from the mainstream media, Soldat Louis continued, having changed their line-up (except for the two founding members), to tour concert halls around France, also releasing several more original albums, best-ofs and live albums.
Du rhum, des femmes et d'la bière, nom de Dieu!
Un accordéon pour valser tant qu'on veut.
Du rhum, des femmes, c'est ça qui rend heureux.
Que l'diable nous emporte, on a rien trouvé d'mieux.

Hello cap'tain! Fait briller tes galons.
Et reste bien au chaud, quand on gèle sur le pont.
Nous c'est not'peine qui nous coule sur le front.
Alors, tiens bien les rênes, tu connais la chanson.

Du rhum, des femmes et d'la bière, nom de Dieu!
Un accordéon pour valser tant qu'on veut.
Du rhum, des femmes, c'est ça qui rend heureux.
Que l'diable nous emporte, on a rien trouvé d'mieux.

Ça fait une paye qu'on a pas touché terre.
Et même une paye qu'on s'fait des gonzesses en poster.
Tant pis pour celle qui s'pointera la première.
J'lui démonte la pass'relle, la cale, la dunette arrière.

Du rhum, des femmes et d'la bière, nom de Dieu!
Un accordéon pour valser tant qu'on veut.
Du rhum, des femmes, c'est ça qui rend heureux.
Que l'diable nous emporte, on a rien trouvé d'mieux.

Tout est grave quelque part sur ma peau
Tell'ment qu'j'en ai les bras, comme des romans-photos.
Blessures de guerre, culs d'bouteilles, coups d'couteaux.
Tant qu'y aura des comptoirs, on aura des héros.

Du rhum, des femmes et d'la bière, nom de Dieu!
Un accordéon pour valser tant qu'on veut.
Du rhum, des femmes, c'est ça qui rend heureux.
Que l'diable nous emporte, on a rien trouvé d'mieux.

Trois milles du cap, c'est les foies, c'est les glandes.
Quand t'as l'cœur qui dérape et les tripes qui fermentent.
J'essaie d'penser au claque, aux filles qui s'impatientent.
Pas au bateau qui craque, entre deux déferlantes.

Du rhum, des femmes et d'la bière, nom de Dieu!
Un accordéon pour valser tant qu'on veut.
Du rhum, des femmes, c'est ça qui rend heureux.
Que l'diable nous emporte, on a rien trouvé d'mieux.

Du rhum, des femmes et d'la bière, nom de Dieu!
Un accordéon pour valser tant qu'on veut.
Du rhum, des femmes, c'est ça qui rend heureux.
Que l'diable nous emporte, on a rien trouvé d'mieux.

Rum, women

(Refrain)
Rum, women and beer, by God,
a squeezebox for waltzing as much as we like.
Rum, women, that's what makes us happy,
the devil take us, we've found nothing better.
Oh oh oh oh oh
we've found nothing better.

Hello Captain, polish up your stripes
and keep yourself warm
when it's freezing on the bridge,
for us it's our effort that runs down our foreheads.
Hold the helm steady
you know the drill.

(Refrain)

It's been a long time that we haven't touched land,
and again a long time getting
dolly birds only on posters;
Too bad for the one who turns up first
I'll take apart her bridge,
her hold and her poop-deck.

(Refrain)

Everything's inscribed somewhere on my skin,
so much that it's left me with arms
like photo-novels,
war wounds, bottle bottoms, stab wounds
as long as there are bars
there'll be heros.
(to the Refrain)

Three miles from the Cape, it's the fear, it's the frustration,
when your heart's going out of control
and your guts are fermenting;
I try to think about the brothel with the girls who are losing patience,
not about the boat that's creaking and groaning
between two breakers.
(Refrain) (twice)

Translator comments:
Just in case someone wants to pull me up for misuse of the word "captain":-
In the second stanza, "capitain" is actually the correct form of address for a lieutenant de vaisseau (a lieutenant - 2-ringer in British or American navy) in the French Marine Nationale, a rank which is a lot junior to a capitain de vaisseau (captain - 4-ringer in the UK or US navy) who would be addressed as "commandant". I'm using "captain" in English under the theory that it can be used to address the master of a ship regardless of rank (although it would be a pretty small boat that had an officier subalterne as master, I think) - and anyway there's nothing in the song that implies the boat is a military one.
And I translate "galons" as "stripes" because a lieutenant de vaisseau has three stripes (plus an anchor) in his shoulder insignia (all subalterne and supérieur ranks use stripes, général [admiral] ranks use stars instead). I guess French civilian ships masters have some sort of brass (or silver) to polish too, perhaps stripes on the bill/visor.
Thanks to michealt on LyricsTranslate.
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Re: France - One song per day.

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Kent - Tous les mômes - 1991

Album: Tous les hommes (RYM: 3.80/5)

Artist Biography by Jason Birchmeier (Allmusic)

The frontman of the pioneering French new wave band Starshooter prior to embarking on a solo career in the early '80s, Kent, often credited as Kent Cokenstock, is a critically acclaimed singer/songwriter whose career spans several decades, from the '70s into the next century. Born Hervé Despesse on March 31, 1957, in Lyon, France, he founded Starshooter in 1975.
Comprised of Jello (guitar), Mickey Snack (bass), and Phil Pressing (drums), in addition to himself (known then as Kent Hutchinson) on vocals and guitar, the band made its commercial recording debut at the height of the punk movement in 1977 with the 7" single "Pin-Up Blonde" on EMI. They made their full-length debut the following year with the eponymous album Starshooter and scored a hit single with "Betsy Party." Before breaking up in 1982, the band released three additional albums, Mode (1979), Chez Les Autres... (1980), and Pas Fatigué (1981). In association with Starshooter's former label (CBS Disques) and producer (Michel Zacha), Kent made his solo album debut in 1982 with Amours Propres and released a couple non-album singles, "Tiny Tinto" and "Tout Petit Doute," in 1983 and 1984 (all of this output later compiled on the 2004 remastered edition of Amours Propres).
Kent resurfaced in 1985 on the label Barclay with the mini-album Emballao, followed by the full-length album Cosimo Liparti in 1987. His recording output accelerated in the '90s as he released a new full-length album release every year or two: À Nos Amours (1990), Tous les Hommes (1991), D'un Autre Occident (1993), Kent en Scène (1995), Nouba (1996), Métropolitain (1998), and Enfin Seuls! (1999). Kent's popularity peaked mid-decade, after French pop singer Enzo Enzo's hit recording of his song "Juste Quelqu'un de Bien" won the 1994 Victoires de la Musique award for Best Song of the Year. After the turn of the century, Kent remained active and continued to garner critical acclaim with the albums Cyclone (2000), Je Ne Suis Qu'une Chanson (2002), Bienvenue au Club (2005), L'Homme de Mars (2008), and Panorama (2009).
Tous les mômes veulent devenir des hommes
La cigarette au lieu du bubble-gum
Avoir une auto et mettre la gomme
Etre un champion à tous les critériums.
Tous les mômes veulent devenir des hommes.
Ils nous voient toujours plus beaux que nous sommes.
Ils ne se contentent pas du minimum.
Vivre et aimer toujours au maximum.
Tous les mômes ont une belle idée des hommes.
Ils savent nous faire oublier qui nous sommes.
Si on sait redevenir haut comme trois pommes
Chacun de nous, pour eux, est au summum.

Mais l'âge et le temps racolent les petits mômes.
Au fil du temps, ça donne les petits hommes au décorum.

Tous les mômes veulent devenir des hommes
Grands comme le plafond du planétarium
Avoir une fusée et mettre la gomme
Tuer les dragons du pandémonium.
Tous les mômes ont une belle idée des hommes.
Ils n'ont pas besoin de curriculum
Pas besoin non plus de faire un référendum
Chacun de nous, pour eux, est au summum.

Mais l'âge et le temps racolent les petits mômes.
Au fil du temps, ça donne les petits hommes au décorum.

Ecoute ton cœur de môme qui bat encore.
Ecoute ce cœur de môme. Espère encore.
Ecoute ce cœur de môme jusqu'à ta mort.
Jamais, jamais n'abandonnera tes rêves de chercheur d'or.

Tous les veulent redevenir des mômes.
Replonger dans des rêves polychromes
Les genoux couverts de mercurochrome
Médaille en chocolat pour tout diplôme.
Tous les hommes ont une belle idée des mômes.
Tant pis si, sous le lit, y a des fantômes.
Si on sait redevenir haut comme trois pommes
Chacun de nous est au summum.

Mais l'âge et le temps racolent les petits mômes.
Au fil du temps, ça donne les petits hommes au décorum.
Pourtant, ça ne te plaît pas, le décorum
Pourtant, tu n'aimes pas, le décorum
Pourtant, tu n'en veux pas, du décorum.

All the kids want to become men
The cigarette in place of bubble-gum
Have a car and accelerate
Be a champion at all the critériums
All the kids want to become men
They still see us more beautiful than we are.
They are not content with the minimum
Live and love always to the maximum
All the kids have a good idea of men
They know us to forget who we are.
If we know how to become as short as three apples again
Each of us, for them, is at the peak.

But age and time solicit little kids
Over time, it gives the little men etiquette.

All the kids want to become men
Great as the planetarium ceiling
Have a rocket and accelerate
Kill the dragons of pandemonium.
All the kids have a good idea of ​​men.
They do not need a curriculum
No need to hold a referendum
Each of us, for them, is the pinnacle.

But age and time solicit little kids.
Over time, it gives the little men etiquette.

Listen to your kid's heart that still beats again and again.
Listen to this kid's heart. Still hope.
Listen to this kid's heart until you die.
Never, never give up your dreams of being a gold digger.

All the men want to become again kids.
Go back into polychrome dreams
Knees covered with mercurochrome
A chocolate medal for any reward.
All the men have a good idea of ​​kids.
Too bad if, under the bed, there are ghosts.
If we know how to become as short as three apples again
Each of us is at the peak.

But age and time solicit small kids.
Over time, it gives the little men etiquette.
Yet it does not like you, etiquette
Yet you do not like it, etiquette
Yet you do not want it, etiquette.

Thanks to hellolleh on LyricsTranslate.
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Re: France - One song per day.

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Next song.
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Tonio Rubio - Bass in action n°2 - 1973

Album: Rhythms (RYM: 3.45/5)

Musicalia (google translate)
Tonio Rubio is a trained violinist and a jazz musician, he accompanied the debut of Johnny Hallyday in 1961 and Sacha distel and Serge Gainsbourg in 1966 he joined the orchestra Jean-Claude Petit, that accompanies all superstars the time for fifteen years, he plays the bass in 1971 for the legendary album "melody nelson" by Serge gainsbourg.
In 1973 under the pseudonym of bacon he play the sound design on mainstream pickup with creating Pierre Bachelet also derived from this scene the band Resonance "ok chicago" that will know a great success and in 1975 "Bass in action" released by TV music in 1973 on the album "rythms" our bassist Antonio Rubio.
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Re: France - One song per day.

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Next song.
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Leny Escudero - Pour une amourette - 1962

Leny Escudero born in Espinal, Navarra, November 5, 1932. He grew up in Paris, Belleville, where life is not always easy. After his graduation certificate, he held various jobs and also experiencing unemployment.

In 1962, Leny meeting the artistic director Leo Messir and began his career of songwriter. "Pour une amourette" made him a star.

At a time when rock and pop singers know their heyday, television becomes infatuated with this yet different artist.
Arrive fortune and glory. But Leny Escudero left for South America. It passes by Paris time to record new songs, then leaves for a world tour (Middle East, Cambodia, the Soviet Union, Israel, Japan, Poland, United States ...).

https://www.youtube.com/watch?v=h4Bi6S-sY2E

Pour une amourette qui passait par là j'ai perdu la tête et puis me voilà
Pour une amourette qui se posait là pour une amourette qui m'tendait les bras
Pour une amourette qui me disait viens j'ai cru qu'une fête dansait dans mes mains
Pour une amourette qui s'fait du bonheur j'ai fui la planète pour la suivre ailleurs
Alors j'me suis dit t'es au bout du chemin tu peux t'arrêter là te reposer enfin
Et lorsque l'amour s'est noyé dans ses yeux j'ai cru que j'venais d'inventer le ciel bleu
Pour une amourette qui m'avait souri je m'suis fait honnête j'ai changé ma vie
Pour une amourette qui savait m'aimer pour une amourette qui croyait m'aimer
Pour une amourette l'amour éternel dure le temps d'une fête le temps d'un soleil
Et mon amourette qui était trop jolie vers d'autres conquêtes bientôt repartit
Le premier adieu à gardé son secret elle emportait l'amour me laissant les regrets
Même le vieux Printemps au loin refleurissait tout contre mon cœur déjà il me disait
Une petite amourette on la prend comme ça un jour, deux peut-être longtemps quelquefois
Va sécher tes larmes à un nouvel amour de guetter des armes de peine d'un jour
Une petite amourette un jour reviendra te tourner la tête te tendre les bras
Chanter la romance du rêve joli et je sais d'avance que tu diras oui
Alors les amours pour toi refleuriront tu aimeras encore à la belle saison
Une petite amourette jamais trop jolie quand on sait d'avance ce que dure la vie

For a fling who was passing by, I lost my mind and here I am
For a fling who was coming down here, for a fling who opened its arms
For a fling who was telling me: come, I believed a feast was dancing in my hands
For a fling that was creating happiness, I fled the planet to follow it elsewhere
Then I told myself you are at the end of the road, you can stop and finally find some rest
And when love drowned in its eyes, I believed I had just invented the blue sky
For a fling that had smiled to me, I became an honest man (law abiding) I changed my life
For a fling that knew how to love me, for a fling who thought they loved me
For a fling eternal love lasts the time of a party the time of a sun
And my fling who was too pretty after other conquests soon was gone again
The first good bye has kept their secret, they took love away leaving me the sorrows
Even the old spring in the distance was flowering again, near to my heart, already it was telling me
A little fling we go for it just like that, for one day, sometimes two, sometimes for long
Go dry your tears to a new love to watch out for the weapons of a one-day sorrow
A little fling one day will come back to turn your head around, to open their arms for you
Singing the romance of a pretty dream and I already know you will say yes
Then for you love will flower again, you will love again by the better season
A little fling never too pretty when we already know how long life lasts


Thans to mimijun on LyricsTranslate.
Last edited by Romain on Fri Sep 22, 2023 1:05 pm, edited 1 time in total.
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Re: France - One song per day.

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I have try to make a chronological Spotify playlist. Unfortunately, almost an hundred of song is missing (poor 70's, it's a massacre). I hope you will enjoy that.


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François Tusques - Le Musichien - 1983 - Jazz

(RYM: 4.71/5 but with only two rating.)


Clifford Allen allaboutjazz.com
Born in 1938 in Paris, Tusques migrated with his family to rural Brittany shortly thereafter, though as his father was a crucial figure in the French Resistance, François and his family moved around quite a bit during and after the War, eventually spending two years in Afghanistan and another two in Dakar before returning to France. As the potential for danger at being ‘outed’ as a member the Resistance was so high, Tusques did not attend any French schools at the time, for fear that he would accidentally divulge his father’s secret to his peers. This secretiveness, on top of the fact that his family was so mobile, contributed to a difficult childhood, and despite the fact that his mother was an opera singer, poverty and circumstance kept Tusques from beginning musical training until he was eighteen, when he began to study the piano. “I had only one week of lessons; after that, I was on my own — you could say an ‘autodidact.’ I learned to play mostly by ear, especially from the drummers.”

Tusques quickly took to jazz — his worldliness certainly offering exposure to sounds that he would not have heard otherwise during the War — and counts among his early favorites Bud Powell and Rene Urtreger, not to mention subsequent affinities for Cecil Taylor (“but I am not a technical pianist…” says Tusques), Mal Waldron, Monk and Jaki Byard. At the start of the 60s, there was a significant scene of American expatriate improvisers in Paris — Bud, Dexter Gordon, Kenny Clarke, and traditionalists like Bechet — and a handful of young French players ready and willing to sit in, like saxophonist Barney Wilen and bassist Pierre Michelot. Certainly, as in England and elsewhere in Europe, French jazz of this nascent period was almost entirely beholden to the American post-bop model, and quite a few players who could stand alongside their American peers and run the changes. Nevertheless, there was also a coterie of French improvisers for whom American-derived bebop was not the end, if even the means. Composer, arranger and sometime pianist Jef Gilson (who eventually began the famed Palm Records) was one of the ringleaders of the Parisian new jazz scene, mentoring young players like trumpeter Bernard Vitet, tenorman Jean-Louis Chautemps, drummer Charles Saudrais, bassist Beb Guerin and other soon-to-be leading lights.

Tusques, though, was the only pianist at the time in Paris willing to extend those steps into the demanding compositional sound-world of ‘free jazz,’ and those who saw a continuous upward- and outward-mobility with this music looked to Tusques as a fulcrum. By 1965, Vitet, Chautemps, Saudrais, and Portal (then primarily a classical clarinetist) had asked Tusques to compose a number of loose springboard-pieces to work on as a group, which led to the recording of Free Jazz for poet Marcel Moloudji’s tiny Moloudji label. In company with German vibraphonist-reedman Gunter Hampel’s Heartplants (Saba, 1965) and trumpeter Manfred Schoof’s Voices (CBS, 1966), Free Jazz is among the very earliest documents of a wholly European improvised music, one which springs more greatly from regional influences than those from across the Atlantic


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Re: France - One song per day.

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Next song.
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Luke - La sentinelle - 2004

Album: La tête en arrière (RYM: 3.20/5)

Artist Biography by Chris True (Allmusic)

Led by Bordeaux-born Thomas Boulard, Luke (named after the legendary Paul Newman film Cool Hand Luke) was a French rock band that, from the late nineties onward, had great success and were a formidable live act.
Formed after Boulard's time in previous band Spring had come to an end, Luke convened in 1998, and went into the studio the following year to work on demos. The resulting 7 track offering was good enough to attract indie label attention, and the band signed up with Le Village Vert.
The original line-up of the band (it would go through some pretty drastic changes over the years) consisted of Boulard (vocals), Stephane Bouvier (bass), Cyril Guillaneuf (keyboards), Ludovic Morillon (drums), and Christophe Plantier (guitars), and would record Luke's debut album, La Vie Presque, in October of 2001. 2002 was a busy year for the band, which saw three single releases, as well as Boulard's preparations for the next album.
The follow-up had to be created without the services of three of Luke's members, however, as Bouvier, Morillon, and Plantier had decided to leave the fold. New members were recruited (Damien Lefevre on bass and Romain Viallon on drums) and recordings commenced on La Tête En Arrière, which hit shelves in April of 2004.
The band embarked on a long tour (with Bayrem Benamor taking up guitar duties) and made appearances at many of the season's rock festivals. To celebrate the success of their live shows, Luke released a DVD from the tour, but was followed with the departure of guitarist Benamor and Guillaneuf. Jean-Pierre Ensuque was recruited, and after a break, Luke got back on the road, and spent much of 2005 and 2006 there.
The extensive touring allowed Luke to write on the road, and when the band entered the studio in 2007 to work on album number three, the process was fairly speedy. The first single, "La Terre Ferme," was released in June of that year, and the album, Les Enfants de Saturne, followed in September. Now officially a foursome, Luke embarked on yet another tour, that was continued into 2008.

J'ai vendu ma misère pour une voix de soumission
Au fond de moi la sentinelle pour y briller sans exception
Et les sourires étaient les mêmes

A-t-on le cri du cœur, la vérité ou la raison ?
Vous n'entendez donc que la bête
Et ses réponses à vos questions

{Refrain:}
Est-ce que la fièvre est un délit d'opinion ?
Est-ce que ma peine était un vote de sanction
La sentinelle qui trouve réponse à mes questions
Serait-ce la bête, serait-ce la bête, ou bien l'oppression ?

Mon prix sert de silence aux fossoyeurs de compassion
Aux mijorées la suffisance, aux incendiaires de l'unisson
Quand un sourire décède d'avoir sourit à l'opinion
A cette soupape, cette sainte attelle, j'aurais pu encore dire non

{au Refrain}


Serait-ce la bête, serait-ce la bête, ou bien l'oppression ? {x2}

Ravale donc ta rengaine, ravale donc tes sanglots,
De l'amour ou d'la haine, qui donc aura bon dos ?

Cris de guerre ,pas en faux-frère mais en son nom
J'ai donné ma main à l'enfer,
Sous vos crachats ma rédition

{au Refrain}

The sentinel

I sold my misery for a submissive voice
Deep inside me the sentinel could shine every single time
And the smiles were the same

Do we possess the hearfelt outcry, the truth or common sense?
You must be hearing only the beast
and its answers to your questions

Is fever an illegal opinion?
Was my grief a protest vote?
Would the sentinel who finds answers to my questions
be the beast, the beast or maybe the oppression?

My outcry is used as silence by those who burry compassion,
as self-importance by the stuck-up ones, by those who torch unanimity?1
When a smile dies for having smiled to public opinion
To this outlet, this holy splint2 I still could have said no

Is fever an illegal opinion?
Was my grief a protest vote?
Would the sentinel who finds answers to my questions
be the beast, the beast or maybe the oppression? (x3)

Just pack your tired old song, swallow your tears,
will the blame be put on love or hate?

I uttered this war cry, not as a traitor, but in its name
I extended my hand to hell
under your gobs of spit, I surrendered

Is fever an illegal opinion?
Was my grief a protest vote?
Would the sentinel who finds answers to my questions
be the beast, the beast or maybe the oppression?

Thanks to petitélève on LyricsTranslate.
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Re: France - One song per day.

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Next song.
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Little Nemo - L'heure d'hiver - 1990
Coldwave, Post-Punk

Album: Turquoise fields (RYM: 3.63/5)

Wikipédia:
Little Nemo is a French rock band formed in 1983 and originating from the region of Paris (Vallée de Chevreuse).

The name of the band was directly inspired by the comic Little Nemo in Slumberland. They and fellow coldwave bands Mary Goes Round and Asylum Party were part of the "Touching Pop" movement.

The band was originally composed of Olivier Champeau (vocals, keyboards) and Vincent Le Gallo (vocals, guitar, bass). Their first releases were two cassettes, La Cassette Froide (1986) and Past and Future (1987). Before the recording of their first EP, 1988's Private Life, the pair added Nicolas Dufaure, also known as "Bill" (bass, guitar, vocals).

On stage (and in the studio, starting in 1990), the group expanded to include Yves Charreire (drums), Ronan Le Sergent (keyboards, piano, organ) and Georges Remiet (guitar).

Little Nemo disbanded in 1992 but reformed in 2008 with a lineup of Le Gallo, Dufaure, Charreire and Le Sergent, releasing the Out of the Blue comeback album on 21 September 2013.

Former member Champeau has released several techno-oriented albums under the alias "Doctorolive".
Un vieux soleil pâle
Derrière un voile
De brumes et de fils
Qu'un courant traverse
Qu'un vent disperse
Par dessus les villes

L'aurore s'égare
Un peu plus tard
Le jour se terre
C'est l'heure d'hiver

Bientôt il atteint
Le méridien
Sa faible chaleur
Distille à travers
le givre et le verre
Des couleurs

An old and pale sun
behind a veil
of mists and threads
run through by some current
blown away by some wind
above the cities.

Dawn wanders in
some times later.
The day stays in hiding
this is the winter hour.

Soon it reaches
the meridian.
Its weak warmth
is instilling through
frost and glass
some colors.

Dawn wanders in
some times later.
The day stays in hiding
this is the winter hour.

Thanks to petitélève on LyricsTranslate.
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Re: France - One song per day.

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NExt song.
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Malavoi - Caressé mwen - 1983
Biguine

Wikipédia:
Malavoi was a Martinican band consisting of Mano Césaire, Jean-Paul Soïme, Christian de Negri, Denis Dantin, and Marcel Rémion. They formed in 1972, naming themselves after a kind of sugarcane and a street on Gorée, a Senegalese island. Many of the members were part of the Merry Lads, a band from the Lycée Schoelcher, and many had been students at Colette Franz, a music school.

Malavoi's style mixes French Antillean music with modern influences from across the Americas, especially Caribbean and Brazilian music, as well as jazz. Their early popular singles included "Albé" and "En lè mon là". The band was soon expanded to include saxophonist Bib Monville and pianist Paulo Rosine, who became the band's leader. The singers alternated and included Raymond Mazarin, Pierre Jabert, Maurice Marie-Louise, Pierre Pastel and Julien Constance.

Malavoi's first album was Malavoi, released in 1978 and featuring singer Ralph Thamar. The band broke up soon after, however, and didn't perform again until re-uniting under Rosine's leadership in 1981. Rosine greatly expanded the fiddle section, first to ten performers, then down to four with Philippe Porry taking over for Dantin, and also added Jean-José Lagier on cello. Malavoi's fame soon spread across the Caribbean and abroad with the 1983 album Zouel, featuring Thamar on vocals along with Marie-José Alie. They played at the Printemps de Bourges in 1983 and at the Caribbean festival in Cartagena, and won the Caribbean music prize, the Maracas d'Or, as well as scoring the film Rue Case Nègres.

They continued touring widely into the late 1980s, in the United States, France, Japan, Russia, Brazil, Canada and Ecuador. Thamar was replaced by Pipo Gertrude in 1988. In the early 1990s, the band's popularity continued to grow, and the membership expanded with the addition of singer Tony Chasseur. Their 1992 Matebis included collaborations with numerous Caribbean musicians, including Jocelyne Béroard, Bethova Obas, Kali, Edith Lefel and Tanya Saint-Val.

Malavoi's leader, Paulo Rosine, died in 1993. He was replaced by José Privat, while two French violinists, Jean-Luc Pino and Daniel Dato, also joined; the band's leader became Jean-Paul Soïme.



Biguine
Wikipédia:
Biguine is a rhythm-centric style of music that originated in Guadeloupe and Martinique in the 19th century. It fuses 19th-century French ballroom dance steps with African rhythms.
Two main types of French antillean biguine can be identified based on the instrumentation in contemporary musical practice, which is call the drum biguine and the orchestrated biguine. Each of these refer to contexts of a specific origin. The drum biguine, or bidgin bèlè in Creole, comes from a series of bèlè dances performed since early colonial times by the slaves who inhabited the great sugar plantations. Musically, the bidgin bèlè can be distinguished from the orchestrated biguine in the following ways: its instrumentation (cylindrical single-membraned drum (bèlè) and the rhythm sticks (tibwa); the call-and-response singing style; the soloist's improvisation, and the nasal voice quality. According to a study by Rosemain (1988), the biguine figured in fertility rituals practiced in West Africa, but its ritual significance has since disappeared in Martinique.
Bidgin bèlè originates in slave bèlè dances and characterized by the use of bèlè drums and tibwa rhythm sticks, along with call and response, nasal vocals and improvised instrumental solos; has its roots in West African dances.

The bèlè is also the name of medium size tambour drum. Players sit astride the drum. It is characterized, in its rhythm, by the "tibwa" (two wooden sticks) played either on a length of bamboo mounted on a stand or on the sides of the tambour bèlè.[3] Added to the tambour bèlè and tibwa are the maracas, more commonly referred to as the chacha. The cinquillo is beat out by the tibwa, but it translates very well to the chacha when the rhythms are applied for playing biguine. The tibwa rhythm plays a basic pattern and the drum comes to mark the highlights and introduce percussion improvisations.
Soley-la ka kouché
Lalin-lan ka lévé
Kokotyé ka boujé

kè-
karésé mwen
Karésé mwen

Lannuit-la ka tonbé tonbé
Ti zwèzo ka pozé
Sèpan mòdi chanté

kè-
karésé mwen
Karésé mwen

Lannè-a ka gémi
Lalin-lan ka frémi
Kokotyé ka palé

kè-
Karésé mwen
Karésé mwen

Ti manmay ka pléré
Lonb-lan pati déwo yeah
San yo tout kay koulé

kè-
karésé mwen
Karésé mwen

vyolon-

Soley-la ka kouché
Lalin-lan ka lévé
Kokotyé ka boujé

kè-
karésé mwen
Karésé mwen

Lannuit-la ka tonbé tonbé
Ti zwèzo ka pozé
Sèpan mòdi chanté

kè-
karésé mwen
Karésé mwen

Lanmè-a ka gémi
Lalin-lan ka frémi
Kokotyé ka palé

kè-
karésé mwen
Karésé mwen

Ti manmay ka pléré
Lonb-lan pati déwo, Yeah
San yo tout kay koulé

kè-
karésé mwen
Karésé mwen

héééé, ah!

solo pyanno, bas-

vyolon-

Soley-la ka pléré
Lalin-lan kaché
Kokotyé ka

kè-
karésé mwen
Karésé mwen

mwen ka mouyé
Tout kò mwen ka kriyé
Lanmen'w ka palé mwen

kè-
karésé mwen
Karésé mwen

Latè-a ka tranblé
Ouragan ka lévé
ka vini

kè-
karésé mwen
Karésé mwen

Hum
Last edited by Romain on Fri Sep 22, 2023 1:07 pm, edited 1 time in total.
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Re: France - One song per day.

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NExt song.
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Re: France - One song per day.

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Damia - La guinguette a fermé ses volets - 1934

Wikipédia:
Marie-Louise Damien (December 5, 1889 – January 31, 1978), better known by the stage name Damia, was a French singer and actress.
Born in Paris, Marie-Louise Damien was 18 years old when she met the singer/songwriter Robert Hollard who gave her lessons that led to her professional debut. At the time, Hollard was married to the singer, Fréhel, but the marriage was a difficult one and soon ended. After leaving his wife, Hollard began an affair with his protégé.

After being seen by Félix Mayol, one of the leading male singing stars at the time, he hired her to perform at his concerts. Despite this, her career evolved slowly, taking second billing for a number of years but with help in her stage presentation from the American dancer, Loie Fuller, she eventually became a singing star. At the beginning of World War I she opened Le Concert Damia, in Montmartre, where she became the first star ever to have a single spotlight trained on her face, bare arms and hands. From this point in her career she became the most important exponent of the chanson réaliste genre until Édith Piaf came along in 1936. Her nickname was "la tragédienne de la chanson", and amongst her big hits were "Les goélands", "Johnny Palmer", "C'est mon gigolo" and "Tu ne sais pas aimer"—the latter song became a theme for French sufferers of AIDS.

In 1927, she appeared in the film, Napoléon directed by Abel Gance with early silent film stars Antonin Artaud, Philippe Hériat, Annabella, and Suzanne Bianchetti. Her other film successes included "Sola" and "Notre Dame De Paris", alongside Anthony Quinn. Damia had enduring appeal that stretched to audiences as far away as Japan where she toured in 1953.

A few years later she did a farewell tour, ending her more than forty-year career in a double bill with Marie Dubasin front of a full house at the Paris Olympia. Her actual swansong, however, was singing "Les Croix" on "La joie de vivre d'Edith Piaf", in 1956.

When asked in 1974 by the Anglo-French biographer David Bret to divulge the secret of her long life and fabulous voice, Damia replied, "Three packs of Gitanes a day!"

Damia died at La Celle-Saint-Cloud, a western suburb of Paris, and was interred in the Cimetière de Pantin. Today, she is considered to b the third greatest singer of chansons réalistes, after Edith Piaf and Barbara.
REFRAIN :
La guinguette a fermé ses volets.
Les joyeux triolets
De l'accordéon fusent.
On voit, comme sur un écran
Des profils inquiétants
Dont les ombres s'amusent.
On dit que, pourtant, un costaud,
Qui frisa l'échafaud
Pour des vendus qui rusent,
Vient d'entrer, rageur,
En vengeur...
Oui, mais...
La guinguette a fermé ses volets.

Le rythme des pas... incertain...
Soudain...
Serait-ce l'heure ?
Et dans l'accordéon plaintif,
Craintif,

Un son demeure !...
Des jurons de voix mâles
Et des râles,
La chute de corps lourds,
Hargneux, des coups sourds.

REFRAIN :
La guinguette a fermé ses volets.
Le même son inquiet
De l'accordéon glace.
On voit, comme sur un écran,
Des couples haletants
Dont les ombres grimacent.
On devine, aux chocs, la fureur
Des costauds en sueur
Qui roulent et qui s'enlacent,
On voudrait bien voir
Et savoir.
Oui, mais...
La guinguette a fermé ses volets.

Le calme revient brusquement.
Vraiment,
Était-ce un leurre ?
Pourquoi ces sanglots convulsifs,
Furtifs ?...
Des femmes pleurent.
Là-bas, un groupe traîne
Vers la Seine,
Quelque paquet maudit
Qui sombre en la nuit...

REFRAIN :
La guinguette a rouvert ses volets.
Les joyeux triolets
De l'accordéon fusent.
Les lampions éclairent, discrets,
Les couples guillerets
En leurs ombres confuses.
On dit que, ce soir, le costaud
Qui frisa l'échafaud
Pour des vendus qui rusent,
Est sorti très gai.
Est-ce vrai ?
Oui, mais...
La guinguette avait mis ses volets...
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Re: France - One song per day.

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Next song.
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Re: France - One song per day.

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Adèle - Je ne veux plus d'accordéon - 1966

Musical (GogleTranslate)
Adèle is a French singer who is in the sixties with folk trend, as a whole, texts, melodies and arrangements of the songs are marked by the musical fashion of the mid-sixties (ie Jacques dutronc, antoine, polnareff and a moody blues to psychedelic trend).

The mid-1960s it was common for French producers to build a musical showcase highlighting the voice of an artist, delicious starlets recorded songs in lively and joyful tempo under the influence of the color pop of the moment, a and balance found between Anglo-American and French cultures.
Quand je les vois danser
Au bal du samedi soir
Ça me fout le cafard

Faudrait les raisonner
Ils dansent n'importe quoi
La valse et la java

Il y en a trop dans les chansons
Je ne veux plus d'accordéon!

(P'tit coup d'accordéon)

Un jour on m'avait dit
Pour mieux vendre du disque
Chante une valse à trois temps

Je n'ai rien répondu
Mais ce que je pensais
je le chante aujourd'hui!

Il y en a trop dans les chansons
Je ne veux plus d'accordéon!

(P'tit coup d'accordéon)

Leur biniou à boutons
Me fait mal aux oreilles
Ils sont bien tous pareils

Ya qu'à les regarder
Il ont tous la même tête
Quand ils ont leur casquette

Il y en a trop dans les chansons
Je ne veux plus d'accordéon!

(P'tit coup d'accordéon)

Ils nous cassent les pieds
Et moi j'en ai assez
D'entendre leur crincin

Mais si ça continue
Un beau jour je le sais
J'en tuerai quelques uns

Il y en a trop dans les chansons
Je ne veux plus d'accordéon!

(P'tit coup d'accordé…)
PAN!
(dernier souffle d'accordéoniste)

Enough with the accordion already


When I see them dance
on saturday evenings
I get the blues.

Ough to talk some sense into them
They dance any odd way
on waltz and java

Enough with the accordion already,
songs are much too full of it

(little accordion tune)

One day they told me
"to sell more records,
try to sing a waltz"

I didn't answer.
Now what I thought about it
is what I'm singing right now!

Enough with the accordion already,
songs are much too full of it

(little accordion tune)

Their bagpipe full of keys
is ruining my ears.
They are one and the same

Just look at them:
the same old tired look
with their caps on their heads

Enough with the accordion already,
songs are much too full of it

(little accordion tune)

They're a nuisance,
and I've had enough
of their noise.

If it goes on like this
one day for sure
I'll kill a few of them

Enough with the accordion already,
songs are much too full of it

(little accord...)
BANG!
(accordion player's dying breath)


Thanks to Petitélève on LyricsTranslate.
Last edited by Romain on Wed Oct 12, 2016 4:09 pm, edited 1 time in total.
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Re: France - One song per day.

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Next song.
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Re: France - One song per day.

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Anne Sylvestre - Les gens qui doutent - 1977

Album: J'ai de bonnes nouvelles (RYM: 3.24/5)

Wikipédia:
Anne Sylvestre (French: [an silvɛstʁ], born Anne-Marie Beugras 20 June 1934) is a French singer and songwriter.

The daughter of Albert Beugras, she is the sister of writer Marie Chaix. Her father was a politician turned collaborationnist during the Occupation of France. Marie Chaix wrote a book about their father's role during the Occupation, Les Lauriers du lac de Constance (1974). Since 1992, Marie Chaix is Harry Mathews's wife, which makes Anne Sylvestre his sister-in-law.

While studying Literature in Sorbonne University, Anne Sylvestre started singing in cabarets in the fifties and was discovered by Michel Valette. Jean-Claude Pascal recorded her song "Porteuse d'eau" (Waterbearer) under the title "La terre" (The Dirt, 1958). She started recording in 1959, and Georges Brassens wrote a preface for her second album (1962). Since 1962, she also wrote and sang for children (Fabulettes). She wrote a song for Serge Reggiani, "La Maumariée" (The Wrongly-Wed Bride, 1968). She recorded a comical duet with Boby Lapointe, "Depuis l'temps que j'l'attends mon prince charmant" (I've been wainting for my prince charming for ages, 1969).

In 1973, she created her own recording company to release her albums. In 1976, along with Isabelle Aubret, she recorded album Fabulettes et Chansons d'Anne Sylvestre. In 1987, she put on a show with singer Pauline Julien from Quebec (Gémeaux croisées, Crossed Gemini, 1987-1988). With fellow singer Michèle Bernard, she put on a show aimed at children, Lala et le Cirque du vent (Lala and the Wind's Circus, 1992-1996). More recently, she sang on scene with Agnès Bihl in the show Carré de Dames (Four of Queens, 2012).

Her songs encompasses a large range of subjects. Her love songs are often in a nostalgic mode ("Le Pêcheur de perles", The Pearl Fisher, 1967; "La Chambre d'or", Golden Room, 1969). Some of her songs could not be broadcast because of their strong engagement, and others contain profanity, for instance "Les Gens qui doutent" (Doubting People, 1977). Some songs deal with difficult subjects such as poverty ("Porteuse d'eau", Waterbearer, 1961), homelessness ("Pas difficile", Not difficult, 1986), education in a consumer society ("Abel Caïn, mon fils", Abel Cain, my son, 1971), war ("Berceuse de Bagdad", Lullaby from Baghdad, 2003). Numerous songs give a feminist take on women's life: "Non, tu n'as pas de nom" (You have no name, 1973) about abortion, "La Vache engagée" (Engaged Cow, 1975), "Une sorcière comme les autres" (A Witch like any other one, 1975) about maternity, "La Faute à Ève" (Eve's Fault, 1978) about women's rights, "Rose" (1981) about teen pregnancy, or "Juste une femme" (Only a woman, 2013) about sexism. She also supported same-sex marriage ("Gay marions-nous", 2007).
J'aime Les Gens Qui Doutent
Les gens qui trop écoutent
Leur coeur se balancer
J'aime les gens qui disent
Et qui se contredisent
Et sans se dénoncer

J'aime les gens qui tremblent
Que parfois ils ne semblent
Capables de juger
J'aime les gens qui passent
Moitié dans leurs godasses
Et moitié à côté

J'aime leur petite chanson
Même s'ils passent pour des cons

J'aime ceux qui paniquent
Ceux qui sont pas logiques
Enfin, pas comme il faut,
Ceux qui, avec leurs chaînes,
Pour pas que ça nous gêne
Font un bruit de grelot

Ceux qui n'auront pas honte
De n'être au bout du compte
Que des ratés du coeur
Pour n'avoir pas su dire
"Délivrez-nous du pire
Et gardez le meilleur"

J'aime leur petite chanson
Même s'ils passent pour des cons

J'aime les gens qui n'osent
S'approprier les choses
Encore moins les gens
Ceux qui veulent bien n'être
Qu'une simple fenêtre
Pour les yeux des enfants

Ceux qui sans oriflamme,
Les daltoniens de l'âme,
Ignorent les couleurs
Ceux qui sont assez poires
Pour que jamais l'Histoire
Leur rende les honneurs

J'aime leur petite chanson
Même s'ils passent pour des cons

J'aime Les Gens Qui Doutent
Et voudraient qu'on leur foute
La paix de temps en temps
Et qu'on ne les malmène
Jamais quand ils promènent
Leurs automnes au printemps

Qu'on leur dise que l'âme
Fait de plus belles flammes
Que tous ces tristes culs
Et qu'on les remercie
Qu'on leur dise, on leur crie
"Merci d'avoir vécu

Merci pour la tendresse
Et tant pis pour vos fesses
Qui ont fait ce qu'elles ont pu".

The people who doubt

I love people who doubt
people who listen too much to
their heart swinging
I like people who speak
and contradict themselves
and without denouncing themselves

I like people who shake
so sometimes they seem
able to judge
I love people who walk
half in their shoes
and half beside it

I love their little song
even if they seem stupid

I love those who panic
those who are not logical
well, not "as they should"
Those who, with their chains
To not bothering us
make a noise of a small bell

Those who will have no shame
of being at the end
only heart's loosers
for failing to say:
"Deliver us from the worst
and keep the best "

I love people who dare not
appropriate themselves things
even less people
Those who agree to be
only a simple window
For children's eyes

Those who without banner
and color blinds of the soul
ignoring colors
Those who are enough loosers
to never be by hystory
honored

I love people who doubt
but i would like that people leave
them alone from time to time
And that people bully them
never when they walk with
their autumns in spring

We should say that the soul
make more beautiful flames
than all these sad asses
And we should thank them
we should tell them, scream them:
"Thank you for have been alive
thank you for the kindness
and too bad for your butt
which did what it could."

Translator comments:
"Autumns in spring" "walking beside their shoes" = ways to show in french that someone is not fitting in the place, feeling outside of everything
Thanks to rosalie.gerard on LyricsTranslate.
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Bertrand Belin - Le mot juste (Le beau geste) - 2015

Album: Cap Waller (RYM: 3.25/5)

FranceCanadaculture.org
Bertrand Belin is born in France in 1970. In 1989, he meets the Canadian band Stompin' Crawfish, with whom he tours for 6 years and participates in two albums. In 1996, he collaborates with the English band Sons of the desert for the album Greedy, followed by the album Goodnight noises everywhere. In 1998, he becomes Néry’s guitar player. Together, they are going to perform around France, Switzerland and Québec. Two albums would come out of this collaboration: La vie c’est de la viande qui pense, and Vol libre. Soon enough, he starts his own band, Les enfants des autres, for whom he composes most of the songs. In 2003, further to a trip to Cuba where he plays with Cuban musicians, he produces his first five-titles album and wins the « Tremplin Starting Rock » award – the new talent section of the Chorus des Hauts-de-Seine festival. In 2005, he finally produces his first own album, Bertrand Belin. In the mean time, he composes for leading singers such as Olivia Ruiz and regularly collaborates with Bénabar. His second album, La perdue, is released in 2007. Alongside his career as a singer-songwriter, he also composes music for films and shows such as Avec Marinette by Blandine Lenoir – awarded best music at the Clermont-Ferrand Festival in 1999. In 2010, he releases his third album, Hypernuit, awarded the Grand Prix du Disque by the Académie Charles-Cros.

Bertrand Belin enhances the French music scene. Everyone agrees that his last album, Cap Waller, is a success.
Si tu crois que là-bas
Si tu crois qu’il y a mieux pour toi
Va
S’il t’en coûte de voir une route
Sans l’emprunter
Va
On t’oubliera
On peut faire ça
Mais pour l’heure
Pour notre bonheur
Soigne tes adieux
Tu veux
Il n’y a rien pour une fête ici
Seulement le beau geste
Seulement le mot juste
Soigne tes adieux

Tu veux
Nous attendons cher ami
Seulement le beau geste

Seulement le mot juste

Si tu crois que là-bas
La pluie ne mouille pas
Les gens comme toi
Va
Si tu crois que là bas
Les chiens n’aboient pas
Sur les gens comme toi
Va
On t’oubliera
Ca, on sait faire ça
Mais pour l’heure
Pour notre bonheur
Soigne tes adieux
Tu veux
Il n’y a rien pour une fête ici
Seulement le beau geste
Seulement le mot juste
Soigne tes adieux
Tu veux
Nous attendons cher ami
Seulement le beau geste
Seulement le mot juste

Nous attendons cher ami

Il n’y a rien pour une fête ici

If you believe that there
If you believe that there's better for you
Go
If it takes a cost on you to see a road
Without taking it
Go
We'll forget you
We can do that
But for the hour (for now)
For our happiness
Treat your farewells
You want
There's nothing for a party here
Just the nice gesture
Just the right word
Treat your farewells

You want
We are waiting dear friend
Just the nice gesture

Just the right word

If you believe that there
The rain doesn't wet
People like you
Go
If you believe that there
Dogs don't bark
On people like you
Go
We'll forget you
That, we know how to do
But for the hour
For our happiness
Treat your farewells
You want

There's nothing for a party here
Just the nice gesture
Just the right word
Treat your farewells
You want

We are waiting dear friend
Just the nice gesture
Just the right word

We're waiting dear friend

There's nothing for a party here

Thanks to TradGirl on LyricsTranslate.
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Enzo Enzo - Juste quelqu'un de bien - 1993

Artist Biography by Chris True (Allmusic)
A French singer/songwriter, Enzo Enzo, was born Korin Ternovtzeff in 1960. Her debut as a pop performer began in 1980 with the group Lili Drop. In 1982, after the demise of Lili Drop the year before, Enzo Enzo -- known by the name Korin Noviz at this point in time -- released her first solo single, "Je Veux Jouer a Tout." Soon after, two years to be exact, Korin released single number two, but more importantly, began performing and recording as Enzo Enzo. A series of singles, some well received, others not, followed over the next decade, and eventually Enzo Enzo became somewhat of a household name. Her first album, a self-titled affair, hit shelves in 1990, and was followed by another six full-lengths by the time of 2007's Chansons d'une Maman. In addition to her respectable solo career, Enzo Enzo recorded a number of duets with other leading lights in French pop, including Jacques Haurogne, and landed a nomination in 1998 at the Victoires de la Musique in the Best Female Artist category.

Debout devant ses illusions
Une femme que plus rien ne dérange
Détenue de son abandon
Son ennui lui donne le change

Que retient elle de sa vie
Qu´elle pourrait revoir en peinture
Dans un joli cadre verni
En évidence sur un mur

Un mariage en Technicolor
Un couple dans les tons pastels
Assez d´argent sans trop d´efforts
Pour deux trois folies mensuelles

Elle a rêvé comme tout le monde
Qu´elle tutoierait quelques vedettes
Mais ses rêves en elle se fondent
Maintenant son espoir serait d´être

Juste quelqu´un de bien
Quelqu´un de bien
Le cœur à portée de main
Juste quelqu´un de bien
Sans grand destin
Une amie à qui l´on tient
Juste quelqu´un de bien
Quelqu´un de bien

Il m´arrive aussi de ces heures
Où ma vie se penche sur le vide
Coupés tous les bruits du moteur
Au dessus de terres arides

Je plane à l´aube d´un malaise
Comme un soleil qui veut du mal
Aucune réponse n´apaise
Mes questions à la verticale

J´dis bonjour à la boulangère
Je tiens la porte à la vieille dame
Des fleurs pour la fête des mères
Et ce week-end à Amsterdam

Pour que tu m´aimes encore un peu
Quand je n´attends que du mépris
A l´heure où s´enfuit le Bon Dleu
Qui pourrait me dire si je suis

Juste quelqu´un de bien
Quelqu´un de bien
Le cœur à portée de main
Juste quelqu´un de bien
Sans grand destin
Une amie à qui l´on tient
Juste quelqu´un de bien
Quelqu´un de bien

J´aime à penser que tous les hommes
S´arrêtent parfois de poursuivre
L´ambition de marcher sur Rome
Et connaissent la peur de vivre

Sur le bas-côté de la route
Sur la bande d´arrêt d´urgence
Comme des gens qul parlent et qui doutent
D´être au-delà des apparences

Juste quelqu´un de bien
Quelqu´un de bien
Le cœur à portée de main
Juste quelqu´un de bien
Sans grand destin
Une amie à qui l´on tient
Juste quelqu´un de bien
Quelqu´un de bien

Just a good person

Standing in front of her delusions,
a woman past shocking,
prisoner of her desertion,
deluded by her boredom.

What does her life boil down to
that she could recall like a painting1
in a nice varnished frame
highlighted on a wall?

A marriage in Technicolor
A couple in pastel colors
Enough money without overstrain
to indulge in a couple of monthly fancies.

Like everybody she dreamed
of befriending a few stars.
Now dreams are melting inside of her
Now her hope would be to be

Just a good person
A good person
The heart at her fingertips
Just a good person
without great expectations
A friend who is held dear
Just a good person
A good person

I too experience these hours
where my life leans over the void.
All engine noises are shut down
above arrid lands

I glide in the dawn of an unease
like an ill-intentioned sun.
No answer can quieten
my steep diving questions.

I say hello to the baker
I hold the door for the old lady
Flowers for mothers day
And this week-end in Amsterdam

So that you love me for a bit longer
while I expect nothing but contempt,
as the Good Lord runs away,
who could tell me whether I am

Just a good person
A good person
The heart at her fingertips
Just a good person
without great expectations
A friend who is held dear
Just a good person
A good person

I like to believe all men
sometimes give up the ambition
to march over Rome
and experience the fear of living.

On the roadside
On the hard shoulder
like people talking while being unsure
of being past pretence.

Just a good person
A good person
The heart at her fingertips
Just a good person
without great expectations
A friend who is held dear
Just a good person
A good person

Tranlator's note:
1. a pun on the French saying "je ne peux plus voir ça en peinture" (I can't stand this anymore), lit. "I cannot even see a painting of this"
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Structures Sonores Lasry-Baschet - Manège - 1966 - Classical


Wikipédia:
The Baschet Brothers refers to two French brothers named François Baschet (born 30 March 1920, in Paris; died 11 February 2014) and Bernard Baschet (born 24 August 1917, Paris; died 17 July 2015[1]) who collaborated on creating sound sculptures and inventing musical instruments, such as the cristal Baschet. François Baschet was a sculptor and Bernard Baschet an engineer. The Baschet Brothers invented the inflatable guitar, the aluminum piano and many other experimental musical instruments. They created an "educational instrumentarium" for exposing young people to musical concepts.

François had wanted to be an artist, but his father warned him against pursuing the unstable life of an artist. He decided to study business in college, but felt no passion for it. After World War II, which had interrupted his education, he decided to travel around the world. He brought with him on his trip a guitar to help him earn a living, but wanting something more portable he invented an inflatable guitar using a balloon and a collapsible wood neck. He continued to perform with this guitar upon his return to Paris. Soon he and his brother, who had studied engineering, began collaborating on sculptural musical instruments.

Beginning in 1952, the Baschets started research into all existing musical instruments and put this knowledge to work in creating dozens of structures sonores (i.e., 'sonorous sculptures'). Their visually striking instruments were crafted out of steel and aluminum and amplified by large curved conical sheets of metal, and are most often easy to play and accessible to people with any level of experience. One example of this is the Hemisfair Musical Fountain, which consists of an array of posts at the top of which are groups of conical sound diffusers, and above them circles of metal prongs. These are played by jets of water aimed by observers.

In 1954, the brothers met Jacques and Yvonne Lasry. Jacques was a pianist and composer and Yvonne was an organist. The four formed an association which they called "Lasry-Baschet Sound Structures." They held their first concerts in 1955. The group was successful and in 1960 were asked by Jean Cocteau to provide music for his film, Le Testament d'Orphée. The group toured, appearing on television shows including The Ed Sullivan Show. In 1966 they were invited to hold an exhibition at the Museum of Modern Art and director Alfred Barr purchased a sculpture for the museum's collection. Their tune Manège was also used as theme for the Granada TV program Picture Box, which ran in the United Kingdom from 1966 to 1990.

In the 1960s the Lasrys emigrated to Israel. In 1977 Bernard met Michel Deneuve, a musician, who joined them, starting a new association, and assisted in creating instruments. Deneuve was especially dedicated to working on their instrument called the "Cristal".
Cristal Baschet
The Cristal Baschet is an acoustic musical instrument belonging to the friction idiophone class. The vibration of its individual elements produces tones by means of friction.
Metal rods are embedded in a heavy plate to form the elements. Each metal rod is accompanied by an attached glass rod. The metal rod's length, weight and position at the equilibrium point determine the sound's pitch. The glass rod is gently stroked with a wet finger to produce sound.

The vibration of the rod with greater amplitude and weaker pressure is transmitted into the metal fitting. This causes a transformation in the vibrations and the shape of the wave produced. The vibrations propagating through the metal have a high pressure and a weak amplitude. This amplification in pressure is the result of fiberglass cones that are fixed in a wood frame alongside a tall, cut-out metal part in the shape of a flame. "Whiskers," placed on the side of the instrument, amplify high-pitched sounds.

The Cristal Baschet is also known as the Crystal Organ and the Crystal Baschet. The range of a concert instrument is 5 octaves. The Cristal is related to the glass harmonica.


Some explanation of the instrument:
https://www.youtube.com/watch?v=awaFd6gArLg
And what did it looks like:
https://www.youtube.com/watch?v=XZDEBqag_y8
https://www.youtube.com/watch?v=1g6i7KUu2Lg
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Romain
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Re: France - One song per day.

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Next song.
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Re: France - One song per day.

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Richard Clayderman - Ballade Pour Adeline - 1976

Artist Biography by John D. Buchanan (Allmusic)

With his lush and sophisticated instrumental approach to pop music, Richard Clayderman (born Philippe Pagès) is, according to The Guinness Book of World Records, "the most successful pianist in the world." Clayderman's albums routinely sell millions of copies and his concerts are quickly sold out. In a review of his 1985 Carnegie Hall concert, Variety wrote, "(Clayderman's) main appeal lies in his youth and boyish good looks...coupled with his gentlemanly charm and his thick French accent, they promise to rope in the romantically inclined middle-aged Yank ladies who cotton to this ilk of soothing entertainment." Nancy Reagan referred to Clayderman as "the prince of romance." Instructed in classical piano by his father, Clayderman enrolled in the Paris Conservatory of Music at the age of 12. Four years later, he placed first in a piano competition at the school. Despite his classical background, Clayderman opted for popular music when he launched his professional career. A tour as opening act for French rock musician Johnny Hallyday introduced him to an international following. Clayderman's debut album, Ballade Pour Adeline, recorded at the urging of producers and composers Oliver Toussaint and Paul de Senneville in 1977, sold more than 20 million copies and was distributed in 38 countries. Clayderman, who took his stage name from his Swedish grandmother, has continued to tour throughout the world to enthusiastic audiences. A live concert broadcast on Chinese television in 1987 attracted more than 800 million viewers.

His vast discography of well over 200 albums, released on and licensed to many different labels worldwide, has seen him record everything from light classics to Andrew Lloyd Webber love songs, Bollywood movie soundtracks, and the folk music of Germany, Turkey, and Japan. While this willingness to turn his hand to anything fueled his worldwide popularity, it is the unthreatening homogeneity of his output that won him a loyal, late-middle-aged fanbase similar to that of another European titan of light classical music, André Rieu. In the early 2010s, Clayderman enjoyed an upsurge in mainstream popularity, perhaps partly as a kitsch nostalgia act, but also on the part of canny marketing men who positioned him as part of that era’s classical crossover explosion. His 2013 album for Decca, Romantique -- arguably his highest-profile release ever -- featured a mélange of film music, pop and light classical standards, and a re-recording of his best-known tune, "Ballade pour Adeline".

The song (Wikipédia)
"Ballade pour Adeline" (French for "Ballad for Adeline") is a 1976 instrumental composed by Paul de Senneville and Olivier Toussaint. Paul de Senneville composed the piece as a tribute to his newborn daughter, Adeline. The first recording was by Richard Clayderman and world-wide sales now have reached 22 million copies in 38 countries. It remains Clayderman's signature hit.

The French trumpeter Jean-Claude Borelly recorded his version in the early 80's which used the same instrumental backing track as the original recording.

Richard Clayderman performed a duet of the track with guitarist Francis Goya in 1999, and was released on their studio album, Together. Again this recording used the original backing track.

A new version of this piece was released on the Richard Clayderman studio album A Thousand Winds in 2007 to celebrate 30 years since the original release of "Ballade Pour Adeline". Clayderman was accompanied by a new string arrangement by Olivier Toussaint.

History
In 1976, Richard Clayderman (real name Philippe Pagès) received a telephone call from Olivier Toussaint, a well-known French record producer, who, with his partner, Paul de Senneville, was looking for a pianist to record a gentle piano ballad. Paul had composed this ballad as a tribute to his new born second daughter “Adeline”. The 23-year-old Philippe Pagès was auditioned along with 20 other hopefuls and, to his amazement, he got the job. "We liked him immediately", says Paul de Senneville, "His very special and soft touch on the keyboards combined with his reserved personality and good looks very much impressed Olivier Toussaint and I. We made our decision very quickly".

Philippe Pagès' name was changed to Richard Clayderman (he adopted his great-grandmother's last name to avoid mispronunciation of his real name outside France), and the single took off, selling an astonishing 22 million copies in 38 countries. It was called "Ballade pour Adeline". "When I signed him", says Olivier Toussaint, "I told him that if we sell 10,000 singles it will be marvellous, because it was disco at that time and we could not bet on such a ballad being a winner..... We could not imagine that it would be so big".
Last edited by Romain on Fri Sep 22, 2023 1:07 pm, edited 1 time in total.
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Re: France - One song per day.

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Next song.
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Lescop - La forêt - 2012

Album: Lescop (RYM: 3.19/5)

Wikipédia (Google Translate)
Lescop, whose real name Mathieu Peudupin, born November 2, 1978 in Chateauroux is a French pop, cold wave singer. He was the singer of Asyl group.

In 1995 was created the Asyl group, Lescop is a fan, then became the singer and lyricist of the group. After several years of infancy Asyl sign in 2004 on Because Music label and toured France from concert to concert.

Following shortness of Asyl, towards 2009/2010 Mathieu Lescop began working on new songs he plans to record solo, his friend Johnny Hostile, French expatriate in London, ensuring production. In late 2010 Mathieu first met Gaël Etienne, multi-instrumentalist who participated in the recording and many pieces arrangement.

After many recording sessions between 2009 and 2011 released on the web clip of the song Forest directed by Beth Jehnny (aka Camille Berthomier, companion of Johnny Hostile, aka Nicolas Congé, with which they form the John and Jehn band) the public responds well. Johnny and Jehnny create the label Pop Noire, which Lescop is the first signed artist. Lescop published an EP in 2011 and a debut album in October 2012. Mathieu says he chose the name Lescop because it is the name of her great grandmother Breton.


Un coup de feu dans la nuit
Une douleur glaciale qui s'élance
La Foret soudain qui frémit
Puis s'installe le silence

Tu te tiens là assourdie
Tu prononces la sentence
Le deuxième coup est parti
Et fait bientôt la différence

Dans la Foret je te retrouve à l'heure opportune
Un rendez vous improvisé sous la lune
Sourires crispés, situation compliquée
Je sens ton souffle qui me frôle le coup
Un pistolet chargé me caresse la joue
Tu me dis "cette fois c'est moi qui joue"
Dans la foret la première détonation raisonne
Un coup de feu puis deux, mon corps qui frissonne
Puis doucement s'écroule

Plus rien, plus un bruit
Personne n'a rien vu par chance
Pour moi maintenant c'est fini
Et tout le monde s'en fout, tu penses!

Te voilà maintenant qui t'enfuis
Tirant ta révérence
La foret de nouveau frémit
Et je profite du silence

Dans la Foret je te retrouve à l'heure opportune
Un rendez vous improvisé sous la lune
Sourires crispés, situation compliquée
Je sens ton souffle qui me frôle le cou
Un pistolet chargé me caresse la joue
Tu me dis "cette fois c'est moi qui joue"
Dans la foret la première détonation raisonne
Un coup de feu puis deux, mon corps qui frissonne
Puis doucement s'écroule


The forest

A gunshot in the night
A darting glacial pain
The forest that suddenly quivers
And then settles into silence

You take yourself there muted
You speak the sentence
The second shot has left
And soon makes the difference

In the forest I find you at a timely hour
An improvised rendezvous under the moon
Tense smiles, complicated situation
I feel your breath that grazes me the shot
A loaded pistol caresses the cheek
You tell me "this time it is I who plays"
In the forest the first detonation resonates
One gunshot and then two, my body that shivers
Then gently collapses

Nothing more, not a sound
Luckily nobody saw
For me this is now over
And nobody gives a shit, you think!

There you are now you run away
Taking your bow
The forest shudders again
And I enjoy the silence

In the forest I find you at a timely hour
An improvised rendezvous under the moon
Tense smiles, complicated situation
I feel your breath that grazes me the shot
A loaded pistol caresses the cheek
You tell me "this time it is I who plays"
In the forest the first detonation resonates
One gunshot and then two, my body that shivers
Then gently collapses

Author's comments:
I feel like maybe some of the innuendo is lost in translation, but more than enough still remains, thank goodness.
"Et fait bientôt la différence" - It's unclear what the subject here is so I'm not too sure how to have it make sense.
"cette fois c'est moi qui joue" - This sounds a little odd translated, and I can't see a way to incorporate the "joue / joue" wordplay.
"Et tout le monde s'en fout, tu penses!" - I find it difficult to judge a) whether this should be everybody or nobody, and b) how harsh / vulgar the translation should be.
Thanks to Calx on LyricsTranslate
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Re: France - One song per day.

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Next song.
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Marcel Dadi - Le derviche tourneur - 1974

Album: La guitare à Dadi (RYM: 3.39/5)

Wikipédia:
Marcel Dadi (20 August 1951 – 17 July 1996) was a Tunisian-born Jewish French guitarist known for his finger-picking style which faithfully recreated the instrumental styles of American guitarists such as Chet Atkins, Merle Travis and Jerry Reed. He became a personal friend of country star Chet Atkins.

Born in Sousse, Dadi released several LPs and some instructional videos before his early death. His recordings featured a mix of compositions by his American heroes and original compositions of his own in a similar style. A feature of his early LPs was that they included a tablature booklet, allowing guitarists to learn the tunes for themselves. Dadi often recorded tunes dedicated to his friends, such as "Roger Chesterfield," dedicated to Roger C. Field with whom he first went to Nashville in 1975 to visit Chet Atkins.

Marcel Dadi immigrated to Eilat (Israel) on the Red Sea, in 1983, and lived there with his wife and newborn son for several years before moving back to France. In 1988, Eric Clapton, his longtime family friend, came to Eilat to visit Marcel Dadi.

En route from NYC to Paris (with TWA), in order to continue to Munich (with Lufthansa), Marcel Dadi died when N93119, the Boeing 747 on TWA Flight 800, exploded off the coast of Long Island. He was returning from the United States to France after being honored at Nashville's Country Music Hall of Fame.

Marcel Dadi’s body was recovered with all the other victims. He is buried on the Mount of Olives in Jerusalem, Israel.


Marcel Dadi was distingued as one of the five "Certified Guitar Player" by Chet Atkins.

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Re: France - One song per day.

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NExt song.
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Francis Lemarque - Bal, petit bal - 1949

Biography: page 12


C´était le soir d´un quatorze juillet
Quelques lampions qui tremblaient sur un fil
Faisaient briller solitaire et discret
Un petit bal au milieu de la ville

Bal petit bal
Où je t´ai connue
Souviens-toi
Tu n´étais pour moi
Ce soir-là
Rien qu´une inconnue
Bleus ou bien verts
Tes yeux lumineux sont si clairs
Ils m´ont mis la tête à l´envers
Sur un air de fête
Je me souviens du patron sympathique
Qui disputait politique avec l´agent flegmatique
Et pour nous deux un seul musicien paresseux
Et le vent léger qui faisait voler tes cheveux

Et quand le dernier lampion s´est éteint
Un grand amour était né dans la ville
C´était le nôtre dansant au matin
Dans le petit bal devenu tranquille

Bal petit bal
Où je t´ai connue
Souviens-toi
Tu n´étais pour moi
Ce soir-là
Rien qu´une inconnue
Bleus ou bien verts
Tes yeux lumineux sont si clairs
Ils m´ont mis la tête à l´envers
Sur un air de fête
Je me souviens du patron sympathique
Qui disputait politique avec l´agent flegmatique
Et pour nous deux un seul musicien paresseux
Et le vent léger qui faisait voler tes cheveux

Ah! mes amis ce fut une belle noce
Le patron et ses huit gosses étaient venus en carrosse
Et maintenant nous voilà clients pour longtemps
De ce petit bal où l´amour un soir en dansant
Nous a réunis pour tout´ la vie.



It was the evening of a fourteenth of july
A few fairy-lights that shuddered on a line
Cast light on, alone and discreet,
A little ball in the middle of town

Ball little ball
Where I met you
Remember
You were nothing more for me
that evening
than a stranger
Blue or green
Your bright eyes are so clear
They turned my head
On a happy tune
I remember the nice barman
Who argued politics with the phlegmatic agent
And for us both a lone, lazy musician
And the light wind that made your hair fly

And when the last fairy-light went off
A great love was born in the town
It was ours dancing to the morrow
In the little ball now turned quiet

Ball little ball
Where I met you
Remember
You were nothing more for me
that evening
Than a stranger
Blue or green
Your shining eyes are so clear
They turned my head
On a happy tune
I remember the nice barman
Who argued politics with the phlegmatic agent
And for us both a lone, lazy musician
And the light wind that made your hair fly

Ah ! My friends, it was a beautiful wedding
The barman and his eight kids had come in a horse-drawn coach
And now we're patrons for quite a while
Of this little ball where love one evening dancing
United us for life

Thanks to Lolek on LyricsTranslate.
Last edited by Romain on Wed Oct 26, 2016 11:10 am, edited 1 time in total.
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Re: France - One song per day.

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Surprised it took 24 pages to get to Miossec (and 22 for la Mano Negra), you'd expect the artists featured in AM to appear fairly early !
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Re: France - One song per day.

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Cha Cha Guitri - Monsieur, Madame - 1981

Album: French Synth Wave - St Etienne - 1981 (RYM: 3.54/5)


Born Bad Records
Unless you are a monomaniacal specialist of the 80s, there is very little chance that Cha Cha Guitry will ring any bell. And yet this band, buried away in Saint-Etienne – at the very heart of France – could have rivalled easily with Elli & Jacno or Telex. Emblematic of that French touch which tinged new-wave with a bit of sunshine, their electro, retro-futuristic songs have that slight sweet and sour flavour between casualness and sophistication.

The birth of Cha Cha Guitry in 1981 was a landmark for its members, Serge, Dominique, Charly and Marie. High-school friendships and love stories helping, it is in a most spontaneous way that these art lovers formed their band. Once their hippie phase was over, the guitar, sax and flute were abandoned in the closet while machines took over: an EMS AKS synth, a Roland SH101, a Roland TR808 rhythm-box. The two couples met in the congenial atmosphere of their “home studio” to record their songs. The boys composed and sang, the girls sang and designed minimal costumes, the elegance of which was enhanced by some DIY touches: no need for fabric, paper will perfectly do.

As deceivingly offhanded stylists, the Cha Cha crew carefully crafted a music that was both studied and charmingly quirky, making collages of pop raw materials and avant-garde stuff. Scissors in hand, they took what they wanted from the Bauhaus, Moholy Nagy, or Sonia Delaunay’s dresses, taping these iconic bits onto the sounds of Kraftwerk and what remained of pop culture (comics, movies, songs of the 30s or easy listening). Cha Cha Guitry, wisely ingenious, modelled tropical landscapes out of cellophane, thus elaborating its own synthetic surrealism. We’ll offer as evidence the title “Les Yeux Ouverts sur les Beautés d’Aujourd’hui” (“Opening Our Eyes to the Beauties of Our Days”), borrowed from a handbook about mechanics. “We were aware of the beauties of the decade, both visual and aural. That was the spirit of Cha Cha. It was like living in an inspiring utopia: we were at the wheel of a bubble, driving at full speed through the 80s!!!”

The adventure would not last more than a few years, just long enough to record two cassettes on Kronchtadt Tapes (a local label central to the underground scene that was more into punk) and give three concerts. “It was difficult to play our music on stage with studio synths, so we figured out a system in which the fifth member was a Revox. It throned among us on stage, playing the soundtrack as we sang live.”

As isolated as they were in Saint-Etienne, they got nevertheless noticed by Alain Maneval who programmed them regularly on Europe 1, and they could even be heard on Radio Gay. So they went to Paris to meet a manager from Virgin, but they never got the luck, rare in those days, to release a vinyl. Their arty, pop style was also too DIY for Agnès B’s freshly opened shop: their second cassette, though wonderfully packed in a Plexiglas case resembling an icicle, was not to the brand’s taste.

Serge has been living in the same flat since 1975 and never got rid of his synthesizer. The studio where Cha Cha would record its songs has not changed a bit. Everything has been kept, ordered, archived, from the piles of magnetic tapes to the hundreds of Polaroid shots. We are happy to offer you a selection of them.

Greetings from Synth-Etienne!
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