France - One song per day.

[Romain]

Claude François - Comme d'habitude - 1968

Wikipédia :
"For Me"
Originally titled "For Me" with lyrics in English, the song was initially refused by numerous artists (most notably Michel Sardou), until Hervé Vilard finally agreed to record it.
"Comme d'habitude"
Revaux reportedly not satisfied with Vilard's version of the song, approached Claude François to re-record it. François accepted but asked that an underlying theme of a couple in a strained relationship be included, in reference to his recent breakup with fellow French singer France Gall. Revaux agreed and with some rewriting from Gilles Thibaut the song became "Comme d'habitude" and was released by Claude François in 1968.
"My Way"
Paul Anka, after hearing the song while watching French television in Paris, got the rights to it for his American production company. Anka wrote English lyrics specifically for Frank Sinatra, who then recorded a cross-Atlantic version of it in 1969 under the title "My Way". "My Way" has since been covered by many artists.


Artist Biography by Steve Huey (Allmusic)

Along with Johnny Hallyday, Claude François was one of the biggest stars of French rock & roll, emerging during the so-called "yé-yé" movement of the early '60s. Like Hallyday, his early success came mostly from French adaptations of English-language rock and folk hits, rather than from original material written specifically for him. However, his image -- immaculately coiffed hair and glitzy sequined suits -- played just as big a role in his popularity, and made him a major teen idol in his heyday, when fans dubbed him "Clo-Clo." He dressed his much-imitated quartet of backup dancers, the Clodettes, in even more flamboyant costumes (some self-designed), which gave his act a definite kitsch appeal and became a visual signature for much of his career. Appropriately for the singer who recorded the original version of the song that became "My Way," François lived the outsized life of a star, cycling through a series of high-profile affairs and acquiring a reputation for being extremely difficult to work with. Despite continued popularity, he endured a run of bad personal luck in the '70s that culminated in his freak accidental death at only 39 years old, electrocuting himself in the bathtub while changing a light bulb.

Claude Marie Antoine François was born on February 1, 1939 in Ismailia, Egypt, where his French-born father worked as a shipping traffic controller on the Suez Canal. His Italian-born mother encouraged him musically, getting him into violin and piano lessons; François preferred the drums, however. When Egypt nationalized the Suez Canal in 1956, François and his family were repatriated to France, settling in Monte Carlo. His father fell seriously ill not long after, and François was forced to get a job and help support the family. He worked in a bank by day, but soon caught on as a drummer with local orchestras on the hotel and nightclub circuit. He made his professional debut with Louis Frozio in 1957, over his father's strenuous objections. Around 1959, François started to try his hand at singing, and proved a hit with resort audiences around the French Riviera. In 1961, he and his first wife moved to Paris.

François found a gig performing with Les Gamblers, but soon decided to embark on a solo career, hoping to take advantage of the rock and roll fad emerging among the youth of Paris. Still in 1961, he landed a record deal and issued a debut single, "Nabout Twist," under the name Koko. It flopped. However, his second release, an Everly Brothers adaptation retitled "Belles, Belles, Belles," was a million-selling smash for Philips in 1962. Adopted as a teen idol by the French music press and the popular Salut Les Copains show, he scored several more hits over the next year, including "Marche Tout Droit," "Pauvre Petite Fille Riche," "Dis-Lui," and the late-1963 chart-topper "Si J'Avais un Marteau" (a French version of "If I Had a Hammer"). Thus established as a star, François embarked on a headlining tour of France in 1964, and wound it up with an appearance at the famed Olympia theater in Paris.

François recorded prolifically during the mid-'60s, cranking out single after single and adaptation after adaptation. He added the first version of the Clodettes to his stage show in 1966, which gave him a whole new appeal in concert, and mounted another hugely successful tour. By now long since separated from his first wife, he had a brief and well-publicized romance with singer France Gall in 1967. In the aftermath of the breakup, he co-wrote and recorded a song called "Comme d'Habitude," which was later adapted by Paul Anka into the English-language pop standard "My Way." François started his own Flèche label in 1968, the same year he had the first of two children with a new girlfriend.

François continued to perform and record with considerable success for the next few years, but broke down and collapsed on-stage in 1971 during a concert at Marseille. He recuperated in the Canary Islands for a short time, and returned to France only to break several bones in a serious car accident. In 1972, he discovered songwriter Patrick Juvet, who composed his smash hit "Le Lundi au Soleil"; however, more bad luck followed, as François was found to owe more than two million francs in back taxes. He had several more hits in 1973, the biggest of which was "Ça S'en Va et Ça Revient," but suffered more misfortune when the windmill at his country home caught fire, and when he was accidentally head-butted by a fan during another concert at Marseille.

François had a huge hit in 1974 with "Le Telephone Pleure," which when translated into English (as "Tears on the Telephone") gave him his first U.K. chart single. While in the U.K. on a promotional tour in 1975, he narrowly avoided being killed by an IRA bombing. By this time, he had solved some of his financial problems by acquiring a couple of magazines (one teen-oriented, one with adult nude photography) and a modeling agency. In 1977 he reinvented himself as a disco singer with the smash hits "Alexandrie, Alexandra" and "Magnolias Forever," two of the most enduringly popular songs of his career (and enhanced live by the Clodettes' disco routines). Sadly, they would also be the last. On March 11, 1978 -- not long after taping a U.K. TV special -- François was taking a bath at his Paris apartment when he noticed that the overhead light bulb needed changing. He stood up to do so, still standing in water, and was fatally electrocuted. News of his death was met by an outpouring of grief from French music fans, who continue to enjoy much of his latter-day work.

Je me lève
Et je te bouscule
Tu ne te réveilles pas
Comme d'habitude

Sur toi
Je remonte le drap
J'ai peur que tu aies froid
Comme d'habitude

Ma main
Caresse tes cheveux
Presque malgré moi
Comme d'habitude

Mais toi
Tu me tournes le dos
Comme d'habitude

Et puis
Je m'habille très vite
Je sors de la chambre
Comme d'habitude

Tout seul
Je bois mon café
Je suis en retard
Comme d'habitude

Sans bruit
Je quitte la maison
Tout est gris dehors
Comme d'habitude

J'ai froid
Je relève mon col
Comme d'habitude

Comme d'habitude
Toute la journée
Je vais jouer
A faire semblant

Comme d'habitude
Je vais sourire
Oui, comme d'habitude
Je vais même rire
Comme d'habitude
Enfin je vais vivre
Oui, comme d'habitude

Et puis
Le jour s'en ira
Moi je reviendrai
Comme d'habitude

Toi
Tu seras sortie
Pas encore rentrée
Comme d'habitude

Tout seul
J'irai me coucher
Dans ce grand lit froid
Comme d'habitude

Mes larmes
Je les cacherai
Comme d'habitude

Comme d'habitude
Même la nuit
Je vais jouer
A faire semblant

Comme d'habitude
Tu rentreras
Comme d'habitude
Je t'attendrai
Comme d'habitude
Tu me souriras
Oui, comme d'habitude

Comme d'habitude
Tu te déshabilleras
Comme d'habitude
Tu te coucheras
Oui, comme d'habitude
On s'embrassera
Comme d'habitude

Comme d'habitude
On fera semblant
Oui, comme d'habitude
On fera l'amour
Oui, comme d'habitude
On fera semblant
Oui, comme d'habitude..

I get out of bed
And I bump into you
It doesn't wake you up
As usual

I pull the sheet up
Over you
Afraid you might be cold
As usual

My hand
Strokes your hair
Almost unwillingly
As usual

But you
You turn your back on me
As usual

And then
I dress up quickly
I get out of the room
As usual

All on my own
I drink my coffee
I'm late at work
As usual

Without a noise
I leave the house
It's all grey outside
As usual

I'm cold
I turn up my collar
As usual

As usual
All day long
Like it's a game
I'll be pretending

As usual
I'll be smiling
Yeah, as usual
I'll even be laughing
As usual
I'll live at last
Yeah, as usual

And then
Day will go
But I'll come back
As usual

You
You'll be out already
Not home yet
As usual

All on my own
I'll go to sleep
In this big cold bed
As usual

My tears
I will cover
As usual

As usual
Even at night
Like it's a game
I'll be pretending

As usual
You'll come back home
As usual
I'll be waiting
As usual
You'll be smiling at me
Yeah, as usual

As usual
You'll get undressed
As usual
You'll go to bed
Yeah, as usual
And we'll kiss
As usual

As usual
We will pretend
Yeah, as usual
We'll make love
Yeah, as usual
We will pretend
Yeah, as usual..


Covers :
Sinatra

Sid Vicious

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[Romain]

Jean-Michel Jarre - Oxygène Part IV - 1976

Album : Oxygène

Oxygène is one of the original e-music albums. It has withstood the test of time and the evolution of digital electronica. Jarre's compositional style and his rhythmic instincts were his strong points in 1976. While his popularity has escalated exponentially over the years, he never quite achieved the quality of this amazing recording. The innocence and freshness provide most of its charm. Jarre's techniques and ability provide the rest. This epic work will appeal to fans of Tonto's Expanding HeadBand, Tangerine Dream, Synergy, Kraftwerk, and Klaus Schulze.


Artist Biography by Jason Ankeny (Allmusic)

Celebrated as the European electronic music community's premier ambassador, composer Jean Michel Jarre elevated the synthesizer to new peaks of popularity during the 1970s, in the process emerging as an international superstar renowned for his dazzling concert spectacles. The son of the famed film composer Maurice Jarre, he was born August 24, 1948, in Lyon, France, and began studying piano at the age of five. Abandoning classical music as a youth, Jarre became enamored of jazz before forming a rock band called Mystere IV; in 1968, he became a pupil of the musique concrète pioneer Pierre Schaeffer, joining Groupe de Recherches Musicales. His early experiments in electro-acoustic music yielded the 1971 single "La Cage"; the full-length Deserted Palace followed a year later.

Jarre's early works were largely unsuccessful, and gave little indication of the work to follow. As he struggled to find his own voice, he wrote for a variety of singers, including Françoise Hardy, and also composed for films. Seeking to push electronic music away from its minimalist foundations as well as the formal abstractions of its most experimental practitioners, he slowly developed the orchestrated melodicism of his 1977 breakthrough effort, Oxygène, an enormous commercial hit that reached the number two spot on the U.K. pop charts. The follow-up, 1978's Equinoxe, was also a smash, and a year later Jarre held the first in a series of massive open-air concerts at the Place de la Concorde in Paris, the estimated one million spectators on hand earning him a place in The Guinness Book of World Records.

Only in the wake of 1981's Les Chants Magnétiques (Magnetic Fields) did Jarre mount a proper tour, traveling to China with a staggering amount of stage equipment in tow; the five performances, performed backed by some 35 traditional instrumentalists, later generated the LP Concerts in China. Released in 1983, Music for Supermarkets instantly became one of the most collectible albums in history -- recorded for an art exhibit, only one copy was ever pressed, selling at a charity auction for close to $10,000. The master was then incinerated, guaranteeing the record's rarity. Jarre's next proper release was 1984's Zoolook, which failed to connect with audiences with the same success as its predecessors.

A two-year hiatus followed before he resurfaced on April 5, 1986, with an extravagant live performance in Houston celebrating NASA's silver anniversary; in addition to the over one million in attendance, it was also broadcast on global television. Rendez-Vous appeared a few weeks later, and after another highly visual live date in Lyon, France, Jarre assembled the best material from the two events as the 1987 concert LP Cities in Concert: Houston/Lyon. Revolutions, featuring the legendary Shadows guitarist Hank B. Marvin, followed in 1988, and a year later a third concert LP, dubbed simply Jarre Live, hit stores. After 1990's En Attendant Cousteau (Waiting for Cousteau), Jarre mounted his biggest live experience yet, with an attendance of over two and a half million fans converging on Paris to see him perform in honor of Bastille Day.

The decade to follow proved surprisingly quiet, however, and apart from the occasional live appearance Jarre was largely removed from the limelight; finally, in 1997 he issued Oxygène 7-13, updating his concepts for a new musical era. At the turn of the millennium, he recorded Metamorphoses and then took a break from the studio as a flurry of reissues and remixes followed, including Sessions 2000, Les Granges Brulees, and Odyssey Through O2. In 2007, after a seven-year hiatus from recording, Jarre released a new dance single, "Teo and Tea," a surprisingly strong return to electro, and followed it with a trancey, angular album also titled Teo and Tea.

And for the little story, Michel Granger, the famous artist who made the album cover was in the Beaux-Arts school of Lyon with my father

[Romain]

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[Romain]

Camille Saint-Saëns - Danse Macabre op 40 - 1874 - Classical

Wikipédia :

Danse macabre, Op. 40, is a tone poem for orchestra, written in 1874 by French composer Camille Saint-Saëns. It started out in 1872 as an art song for voice and piano with a French text by the poet Henri Cazalis, which is based on an old French superstition. In 1874, the composer expanded and reworked the piece into a tone poem, replacing the vocal line with a solo violin.

According to legend, "Death" appears at midnight every year on Halloween. Death calls forth the dead from their graves to dance their dance of death for him while he plays his fiddle (here represented by a solo violin). His skeletons dance for him until the rooster crows at dawn, when they must return to their graves until the next year. The piece opens with a harp playing a single note, D, twelve times (the twelve strokes of midnight) which is accompanied by soft chords from the string section. The solo violin enters playing the tritone consisting of an A and an E-flat—in an example of scordatura tuning, the violinist's E string has actually been tuned down to an E-flat to create the dissonant tritone. The first theme is heard on a solo flute, followed by the second theme, a descending scale on the solo violin which is accompanied by soft chords from the string section. The first and second themes, or fragments of them, are then heard throughout the various sections of the orchestra. The piece becomes more energetic and at its midpoint, right after a contrapuntal section based on the second theme, there is a direct quote played by the woodwinds of the Dies irae, a Gregorian chant from the Requiem Mass that is melodically related to the work's second theme. The Dies irae is presented in a major key, which is unusual. After this section the piece returns to the first and second themes and climaxes with the full orchestra playing very strong dynamics. Then there is an abrupt break in the texture[5] and the coda represents the dawn breaking (a cockerel's crow, played by the oboe) and the skeletons returning to their graves.

The piece makes particular use of the xylophone to imitate the sounds of rattling bones. Saint-Saëns uses a similar motif in the Fossils movement of The Carnival of the Animals.

Charles-Camille Saint-Saëns ; 9 October 1835 – 16 December 1921), also known by his nom de plume, Sannois, was a French composer, organist, conductor, and pianist of the Romantic era. He is known especially for The Carnival of the Animals, Danse macabre, Samson and Delilah (Opera), Piano Concerto No. 2, Cello Concerto No. 1, Havanaise, Introduction and Rondo Capriccioso, and his Symphony No. 3 (Organ Symphony).

Saint-Saëns' concertos and many of his chamber music works are both technically difficult and transparent, requiring the skills of a virtuoso. The later chamber music pieces, such as the second violin sonata, the second cello sonata, and the second piano trio, are less accessible to a listener than earlier pieces in the same form. They were composed and performed when Saint-Saëns was already slipping out of popularity and, as a result, they are little known. They show a willingness to experiment with more progressive musical language and to abandon lyricism and charm for more profound expression.

The piano music, while not as deep or as challenging as that of some of his contemporaries, occupies the stylistic ground between Liszt and Ravel. At times brilliant, transparent and idiomatic, the music for two pianos includes the Variations on a Theme by Beethoven, the Scherzo, a palindromic piece that uses a blend of modern tonalities and conventional gestures, and the Caprice arabe, a rhythmically inventive fantasy that pays homage to the music of northern Africa. Although Saint-Saëns was considered old-fashioned in later life, he explored many new forms and reinvigorated some older ones. His compositional approach was inspired by French classicism, which makes him an important forerunner of the neoclassicism of Ravel and others.

In performance, Saint-Saëns is said to have been "unequalled on the organ", and rivaled by only a few on the piano. However, Saint-Saëns's concert style was restrained, subtle, and cool; he sat unmoving at the piano. His playing was marked by extraordinarily even scales and passagework, great speed, and aristocratic refinement. The recordings he left at the end of his life give glimpses of these traits.

He was, incidentally, the earliest-born pianist ever to make recordings. But he was not the earliest-born pianist to leave a record in any form of their piano playing, as Carl Reinecke, who was born in 1824 (eleven years before Saint-Saëns, and while Beethoven was still alive), made a Welte-Mignon roll in 1904, when he was 80. Nor was he the first pianist to make recordings; an arrangement of the Liebestod from Wagner's Tristan und Isolde was made by Landon Ronald in 1900 on a seven-inch Berliner disc.

He was often charged with being unemotional and business-like, less memorable than other more charismatic performers. He was probably the first pianist to publicly perform a cycle of all the Mozart piano concertos. In some cases these influenced his own piano concertos; for example, the first movement of his 4th Piano Concerto in C minor strongly resembles the last movement of Mozart's 24th Concerto, which is in the same key. In turn, his own concertos appear to have influenced those of Sergei Rachmaninoff and other later Romantic composers. Throughout his life, Saint-Saëns continued to play with the technique taught to him by Stamaty, using the strength of the hand rather than the arm. Claudio Arrau never forgot the ease with which Saint-Saëns played (he cites Chopin's fourth scherzo as an example).

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Salvatore Addamo - Tombe la neige - 1963

Artist Biography by Craig Harris (Allmusic)

A passion for music and an emotion-tinged vocal quality has made Salvatore Adamo one of the most commercially successful singers in Europe and one of the most famous Italian immigrants living in Belgium. Since his debut album, Vous Permettez Monsieur, transformed him into an internationally recognized celebrity, Adamo has sold over 80 million copies of his albums worldwide. Adamo, who emigrated to Belgium with his parents at the age of three, was raised in Jemappes and later moved to Brussels. A bright student, Adamo was able to avoid the coal mining industry that lured many Italian immigrants to Belgium and concentrate on his academic and musical studies. Adamo's influences included the music of Victor Hugo, Jacques Prevert, and George Brassens, and the Italian canzoetta and tango. While he recorded a collection of songs from Napoli, Adamo has sung in his adopted language of French. In the mid-'60s, he reached his commercial peak, placing a number of songs at the top of the music charts including "Sans Toi Mamie" in 1963 and "Vous Permettez Monsieur," "Quand les Roses," and "Dolce Paola" in 1964. He released a string of live albums and compilations throughout the '60s and '70s, but his career trailed off in the '80s, his style being no longer fashionable.

An adaptation of Adamo's composition, "Les Filles Du Bord de Mer," was recorded by Arno in 1993 and sparked a renewed interest in his work. That year, Adamo was made an honorary UNICEF ambassador and began to visit war-torn countries in this capacity. Almost certainly as a result, his 1998 comeback album, Regards, brought a sociopolitical edge to his music with songs commenting on racism and the civil war in Bosnia. In Belgium, the album was released with two songs -- "Laat Onze Kinderen Dromen (Let The Children Dream)" and "Il Zie Een Engel (I See An Angel)" -- sung in Dutch. After that, he continued to ride a wave of nostalgia-fueled success, eventually becoming at least as famous in the new millennium as he had been in his heyday. In 2001 he was knighted by King Albert II of Belgium for his services to the country's music industry. Adamo recorded several successful studio albums during the 2000s, including the obligatory duets album -- 2008's Le Bal des Gens Bien -- on which he re-recorded some of his biggest hits with a string of hot young artistes. He showed no signs of stopping as he moved into the early 2010s, with another new album, La Grande Roue, dropping in 2012.

Tombe la neige
Tu ne viendras pas ce soir
Tombe la neige
Et mon cœur s'habille de noir
Ce soyeux cortège
Tout en larmes blanches
L'oiseau sur la branche
Pleure le sortilège

Tu ne viendras pas ce soir
Me crie mon désespoir
Mais tombe la neige
Impassible manège

Tombe la neige
Tu ne viendras pas ce soir
Tombe la neige
Tout est blanc de désespoir
Triste certitude
Le froid et l'absence
Cet odieux silence
Blanche solitude

Tu ne viendras pas ce soir
Me crie mon désespoir
Mais tombe la neige
Impassible manège

The snow is falling
You won't come tonight
The snow is falling
And my heart is dressed in black
This silky procession
All in white tears
The bird on the branch
Mourns the magic

You won't come tonight
My desperation cries out to me
But the snow is falling
Imperturbable carrousel

The snow is falling
You won't come tonight
The snow is falling
All is white with desperation
Sad certainty
The cold and the absence
This hateful silence
White loneliness

You won't come tonight
My desperation cries out to me
But the snow is falling
Imperturbable carrousel

[Romain]

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[Romain]

Stella - Si vous connaissez quelque-chose de pire qu'un vampire, parlez m'en toujours, ça pourra peut-être me faire sourire - 1967

Born in Paris into a family of Polish immigrants, she began writing music in the early sixties together with her uncle Maurice Chorenslup. Their songs were parodies of the Yé-yé style that was popular at the time. Stella's first EP, which included "Pourquoi pas moi", was released in November 1963, when she was twelve. In 1966, "Un air du folklore Auvergnat" ("a folk song from Auvergne", mocking Sheila's "Le Folklore Américain") increased her fame, followed by protests by the Auvergnat association—which took the lyrics seriously. Her take on music was 'engagingly sarcastic'. 1966's Beatnicks D'Occasion targeted weekend scenesters. Her final record as Stella was released in 1967. "I wasn't even 17 yet, but I just said 'Ok, pfft. Leave it.'"

She later married Magma drummer Christian Vander and has appeared on numerous Magma albums. Since Magma's reformation in the late 1990s, she has assumed a larger role in the band's studio and performance efforts, and is currently Magma's most enduring and prominent vocalist.

Si vous voulez faire mon bonheur,
Emmenez-moi voir un film d'horreur
Pas besoin de salle climatisée,
Pour frissonner même en été

J'aime le sang qui coule le soir au fond des bois
J'aime entendre les cris des victimes que l'on noie
Mais Attention, Quelle est ce bruit?
Les volets claquent, Mes dents aussi...

Si vous voulez faire mon bonheur,
Arrangez-vous pour que j'ai peur

Quand j'apprenais en classe l'histoire des rois de France,
C'était vers ce bon Louis XI qu'allait mes préférences
Celui qui a lancé l'usage,
De mettre ses rivaux en cage

Si vous voulez faire mon bonheur,
Mon seul plaisir c'est d'avoir peur

Et quand parfois je rêve à mon prince charmant,
Il n'aura pas besoin d'être beau ni d'être grand
Pourvu qu'il soit anglais et chanteur,
Je resterai dans le domaine de l'horreur

Et comme cette histoire doit finir,
Salut, je vais retrouver mon vampire
ça fait plus d'une heure qu'il m'attend,
Il doit se faire du mauvais sang

Du mauvais sang... Du mauvais sang...
Du mauvais sang... Du mauvais sang...
Du mauvais sang...

If you want to make me happy,
Take me to see a horror movie.
No need for an air conditioned theater
To get the chills even in summer.

I love the blood that flows at night deep in the woods.
I love hearing the screams of victims being drowned.
But hang on, what's that noise?
The shutters are chattering, so are my teeth.

If you want to make me happy,
Figure out a way for me to be scared.

In history class when I was learning about the kings of France,
My preference was drawn toward good old Louis XI,
The one who began the practice
Of putting his rivals in a cage.

If you want to make me happy,
My only pleasure is to be scared.

And now and then when I dream about my Prince Charming,
He doesn't have to be handsome or tall.
So long as he is English and a singer,
That will keep me in the genre of horror films.

And seeing as this story has to come to an end,
See ya, I have to go rejoin my vampire.
He's been waiting for me for over an hour.
He must be so bloody worried.

Bloody worried ... bloody worried ...
Bloody worried ... bloody worried ...
Bloody worried ...
Thaks toGranpa Wild Willy at Lyrics Translate

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Guesch Patti - Etienne - 1987

Album : labyrinthe

Wikipédia :

After having accompanied the pianist Yves Gilbert, she decided to begin a singer career and recorded two discs in 1965 that passed unnoticed. In 1984, Patti participated in the trio named 'Dacapo', and had her first solo hit in 1987/1988 with "Étienne", which was certified gold disc in France. This song sold more than half a million copies and was ranked #1 in several countries, including France and Italy. Labyrinthe, released a short time after, was also successful: in 1988, it won a Victoire de la Musique in the category 'Female révélation of the year', which is awarded to best new artists. Another single, "Let Be Must the Queen", was a minor hit, peaking at #25 in France and #21 in Austria.

Her second album, entitled Nomades, was released in January 1990. In spite of a European tour and concerts performed in the US and Canada, the album was less successful than the previous. "L'Homme au tablier vert", "Comment dire" and "Nomades" were the three singles from the album, but were not charted.

In 1992, Patti released her third album, Gobe, which was critically well-received, but considered a commercial failure.

In 1995, her next album, Blonde, strongly marked a musical shift and a more electronic experimentation, with less commercial sounds and new collaborations with many artists including Étienne Daho (on the song "Blonde") and Françoise Hardy ("Un peu, beaucoup"). There were three singles from this album: "La Marquise", "Blonde" and "Amnésie". In addition, the British filmmaker Peter Greenaway chose "Blonde" for the soundtrack of his film The Pillow Book (1996).

The fifth album, Dernières Nouvelles, released in 2000, highlighted a painful and romance-drama ambiance, strongly tinged with loneliness. A DVD released in March 2002 completed the album. With much musical innovation, this DVD presents a large part of the album, containing choreographed performances and a false interview dealing with existential problems and the condition of the artist. The same year, Patti recorded a duet with Gonzales for the single entitled "Dans tes yeux".



"Étienne" is a 1987 song recorded by French artist Guesch Patti, from her album, Labyrinthe. It was released as her debut single in late 1987 in several European countries. Particularly famous for its suggestive music video which was censored on certain TV channels, the song was a great success in France, Italy, Switzerland, Austria and Germany where it was a top ten hit.
The song was written by Guesch Patti and Vincent Bruley.

According to the French Charts expert Elia Habib, the success of this song results from an alchemy between several of its components : "the voice of Guesch Patti in first, which makes a success of an interpretation very provocative of the song, alternating sensual moanings and passionate shouts ; the text of course, is full of suggestive sonorities ; the music, which play a large part in the success of the song in the production of the text, since the feline rhythmic of the intro until the nervous chord of the electrical guitar, and the videoclip, which is of an erotic esthetism carried by an arousing choreography".

The video clip, in which Patti carries out a striptease in front of some men, was censored on several French TV channels (but not on Canal +) and on MTV Europe, and only broadcast on evening.

Etienne, Etienne, Etienne
Oh, tiens le bien

Baiser salé, sali
Tombé le long du lit
De l'inédit
Il aime à la folie
Au ralenti
Je soulève les interdits

Etienne, Etienne, Etienne
Hmmm, tiens le bien

Affolé, affolant
Il glisse comme un gant
Pas de limite
Au goût de l'after beat
Reste allongé
Je vais te rallumer

Aïe, Etienne

Etienne, Etienne, Etienne
Oh, tiens le bien

Alléché, mal léché
Accolé, tout collé
Reste allangui
Je me sens étourdie
Toute allourdie
Mais un très grand appétit

Etienne, Etienne, Etienne
Oh, tiens le bien

Délassée, délaissée
Enlacés, élancés
Si je te mords
Et encore et encore
Pendant le dos
Je souffle le mot

Oh, Etienne

Etienne, Etienne, Etienne
Oh, tiens le bien

Etienne, Etienne, Etienne
Oh, tiens le bien

Baiser salé, sali
Tombé le long du lit
De l'inédit
Il aime à la folie
Au ralenti
Je soulève les interdits

Etienne, Etienne, Etienne
Oh, tiens le bien

Affolé, affolant
Il glisse comme un gant
Pas de limite
Au goût de l'after beat
Reste allongé
Je vais te rallumer

Etienne, Etienne, Etienne
Oh, tiens le bien


Etienne, Etienne, Etienne
Oh, don't hold back

A dirty salty kiss
All down the bed like this
Something for you
Coming out of the blue,
Freeze frame slow-motion
I am breaking the taboo

Etienne, Etienne, Etienne
Oh, don't hold back

Distracted crazy love
It fits just like a glove
The infinite taste
Of our languid after-glow
Let me re-ignite
And make your passion grow

Hey Etienne

Etienne, Etienne, Etienne
Oh, don't hold back

A tempting wicked lick
As side by side we stick
All night you stay strong
Drunken senses can't be wrong
Way down out of sight
Feed my mighty appetite

Etienne, Etienne, Etienne
Oh, don't hold back

Relaxed and left to fade
Our next embrace delayed
As I bite feel the pain,
go again and again
All down your spine
My breathless words will rhyme

Etienne, Etienne, Etienne
Oh, don't hold back

A dirty salty kiss
All down the bed like this
Something for you
Coming out of the blue,
Freeze frame slow-motion
I am breaking the taboo

Etienne, Etienne, Etienne
Oh, don't hold back

Distracted crazy love
It fits just like a glove
The infinite taste
Of our languid after-glow
Let me re-ignite
And make your passion grow

Etienne, Etienne, Etienne
Oh, don't hold back

[Romain]

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[Romain]

Juliette Gréco - Il n'y a plus d'après - 1960

Album : Juliette Gréco, N°7.

Words and music : Guy Béart

Artist Biography by Caspar Salmon (Allmusic)

Muse to the Parisian literary scene of the '50s, godmother of songwriter-led '60s French pop, and a self-reinventing torch singer from the '70s until now, Juliette Gréco is one of the great French recording artists of the 20th century. Born in Montpellier in 1929, Gréco was classically trained at the Paris Opera as a youngster. Forced to flee Paris at the outbreak of the Second World War, and practically orphaned when her mother was jailed for her resistance to the Nazis in 1943, Gréco then sought refuge with her former French teacher in the St. Germain des Prés quarter of Paris.

In the later years of the war, the literary and artistic world of the Left Bank was flourishing, and Gréco became a fixture in this world, befriending Sartre and other writers of renown, and appearing in the theater and on a literary radio show. Her experiences of hardship in the war had influenced her politics and sowed the seeds for the great liberation she flaunted after the war, becoming the pinup for the so-called bohemian scene.

Gréco made an acclaimed debut as a singer in 1949, premiering songs with the words of such leading French poets as Jacques Prévert ("Les Feuilles Mortes"), Jules Laforgue ("L'Eternel Féminin"), and Raymond Queneau ("Si Tu T'Imagines") set to music by Joseph Kosma. In the new postwar songs, lyrics were privileged over the bigger orchestrations favored by singers like Edith Piaf; Gréco's intellectual bent made her the perfect interpreter for this new movement. Her singing style shared the dramatic enunciation of Jacques Brel and the droll delivery of Georges Brassens, her contemporaries in quite different musical scenes, while showcasing a sensuality all her own. Gréco released the song "Je Suis Qui Je Suis," again with words by Prévert and music by Kosma, two years later -- it was a huge hit for her.

Having toured Brazil and the United States, Gréco returned to Paris in 1954 to triumph at the Olympia hall with the song "Je Hais les Dimanches," written by a young Charles Aznavour. Devoting most of the rest of the decade to a successful film career in the United States, Gréco returned to Paris in 1959 and began a second phase of her musical career as the patron of a new French generation of songwriters in the early '60s. She collaborated with artists like Serge Gainsbourg, who wrote "La Javanaise" for her, as well as Léo Ferré and Guy Béart. In 1968, now massively famous from high-profile television appearances and her earlier recordings, she released her song "Deshabillez-Moi," which was an openly sexual piece and marked a change from the intellectual, literary slant she had always put on her songs.

After a slight stalling of her recording career in the early '70s due to trouble with record companies, Gréco embarked on a third stage in her career in 1975, collaborating closely with Gérard Jouannest, the former pianist for Jacques Brel, who set many of the texts written for her to music henceforth. She married him in 1989. Further releases in the '80s ("Gréco '83") and '90s (the beautiful "Juliette Gréco") saw her experimenting still, as well as promoting new songwriters like Etienne Roda-Gil and Caetano Veloso. She released "Un Jour d'Été et Quelques Nuits" in 1998, and in 2004 her album Aimez-Vous les Uns les Autres ou Bien Disparaissez was a true return to form, featuring collaborations with young artists Miossec and Benjamin Biolay. The album Le Temps d'une Chanson was released in 2006, and Qu'on Est Bien: La Valse Brune arrived two years later.

Maintenant que tu vis
A l´autre bout d´Paris
Quand tu veux changer d´âge
Tu t´offres un long voyage
Tu viens me dire bonjour
Au coin d´la rue Dufour
Tu viens me visiter
A Saint-Germain-des-Prés

Il n´y a plus d´après
A Saint-Germain-des-Prés
Plus d´après-demain
Plus d´après-midi
Il n´y a qu´aujourd´hui
Quand je te reverrai
A Saint-Germain-des-Prés
Ce n´sera plus toi
Ce n´sera plus moi
Il n´y a plus d´autrefois

Tu me dis "Comme tout change!"
Les rues te semblent étranges
Même les cafés-crème
N´ont plus le goût qu´tu aimes
C´est que tu es une autre
C´est que je suis un autre
Nous sommes étrangers
A Saint-Germain-des-Prés

Il n´y a plus d´après
A Saint-Germain-des-Prés
Plus d´après-demain
Plus d´après-midi
Il n´y a qu´aujourd´hui
Quand je te reverrai
A Saint-Germain-des-Prés
Ce n´sera plus toi
Ce n´sera plus moi
Il n´y a plus d´autrefois

A vivre au jour le jour
Le moindre des amours
Prenait dans ces ruelles
Des allures éternelles
Mais à la nuit la nuit
C´était bientôt fini
Voici l´éternité
De Saint-Germain-des-Prés

Il n´y a plus d´après
A Saint-Germain-des-Prés
Plus d´après-demain
Plus d´après-midi
Il n´y a qu´aujourd´hui
Quand je te reverrai
A Saint-Germain-des-Prés
Ce n´sera plus toi
Ce n´sera plus moi
Il n´y a plus d´autrefois

A Saint-Germain-des-Prés

Now that you live on the other side of town, you visit me, say hello, on the corner of rue Dufour in Saint-Germain-des-Près.

There is no after, no tomorrow, no afternoon; there is only today. When we meet it is no longer you, it is no longer me, there is no more yesterday.

You tell me everything's changed. The streets look strange, even the coffee is not the way you like it. It's because you are someone else, I am someone else, we are strangers, in Saint-Germain-des-Près.

There is no after, etc…

Living by day, the least of our loves seems to be eternal. But living by night, it all ends quickly. That's what eternity means in Saint-Germain-des-Près.

There is no after, etc...

[Romain]

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[Romain]

Dominique A - Le Twenty-Two bar - 1995

Album : La mémoire neuve

Artist Biography by Olivier Duboc (Allmusic)

In France in the early '90s, Dominique A (born Dominique Ané in 1968) showed the way for those artists who wished to stick to singing in their birth language without necessarily putting aside their overseas pop influences, and thereby their poppiest edge. He more than often performed alone on-stage, jangling with synths, guitars, and microphones in a minimalist style that made him famous, relying partly on his high-pitched emphatic old-fashioned voice. His first hit, "Le Courage des Oiseaux," from 1992's La Fossette, inspired a whole generation of growing artists and quickly gained cult status. Even after he added more instrumentation and sophistication to his works, and up to 1995's La Mémoire Neuve and its single "Le Twenty Two Bar," he kept following the same path of stripped-down-to-the-core songwriting. It was only when he discovered Alain Bashung's L'Imprudence album that he decided to add even more sophistication, thereby closing the first chapter of his career and entering new stages of musical and lyrical creation. Though some surprised critics weren't necessarily following Dominique A in his more and more challenging new formula, he kept on insisting on it, adding more and more literature influences and musical subtlety to his material. 2006's L'Horizon was quite warmly received as the then-climax of this new era, both by music critics and his fan base. In 2007, he released a first live CD album, Sur Nos Forces Motrices.

1 - Au twenty-two bar on dansait, on dansait
C'était plutôt inhabituel
Alors bien sur j'en profitais
De bras en bras les gens passaient
Ça n'était
Qu'un temps court pour se relancer
Et puis se remettre à danser

{Refrain:}
Parfois j'entendais
Quelqu'un m'appeler
Personne
Quand je me tournais

2. Au twenty-two bar ce soir-là, on dansait
Je ne sais plus pourquoi c'était, non...
Pas plus que les gens qui dansaient
Si par hasard ils s'arrêtaient
Ils sentaient
De vieux décors se balancer
Plusieurs fois manquaient de tomber
Et du coup de bras en bras ils repassaient
Alors on se laissait aller
Au twenty-two bar ce soir-là
{au Refrain}

3. Au twenty-two bar ce soir-là, on dansait
A chaque fois que je le voyais
Je l'appelais puis me cachais
Après tout ce qu'il m'avait fait
J'attendais
Le bon moment pour l'aborder
Et sentir son sang se glacer
Mais comme vraiment rien ne pressait
Ne pressait
Pour l'heure je le laissais filer
Bientôt je le ferai danser...

At the Twenty-Two Bar we danced, we danced.
That was pretty far from our normal habits.
So you better believe I took advantage of it.
Arm in arm, folks went to and fro.
We had
Just a short break to collect our spirits.
And then we started dancing again.

[Chorus]
A few times I heard
Someone call me.
But when I turned around,
Nobody.

That night at the Twenty-Two Bar, we danced.
I don't know any more why that was, no...
No more than while folks were dancing,
Why they would randomly stop.
They felt
The old decorations swaying.
A few times they very nearly fell.
But right away, arm in arm, they went back to it.
Se we let it slide
That night at the Twenty-Two Bar.

[Chorus]

3. That night at the Twenty-Two Bar, we danced.
Every time I saw him,
I called his name then hid.
After everything he had done . . . .
I waited for
The right moment to confront him
And feel his blood run cold.
But since there was really no rush,
No rush . . .
For that hour, I let it slide.
Soon, I'll make him dance...
Thanks to grampa wild willy on Lyrics Translate.

[Romain]

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[Romain]

Georges Moustaki - Le Métèque - 1969

Album : Le Métèque

Artist Biography by Steve Huey (Allmusic)

Although he achieved his greatest fame in France, singing French-language songs in a distinctly French style, singer/songwriter Georges Moustaki was more a citizen of the world -- or, as he often put it, a "citizen of the French language." Christening himself a cultural "mongrel" in his signature hit "Le Métèque," Moustaki's first love was the classic-style French chanson, but he often appropriated bits of world folk musics from Greece, Turkey, the Middle East, Brazil (bossa nova and MPB), Argentina (tango), and other parts of Latin America, the United States (blues and jazz), Holland, and anywhere else his travels took him. Simplicity was a hallmark of many of his own recordings; possessed of a soft, warm voice, he often sang with only his own guitar for accompaniment, creating an intimacy that translated to his live gigs as well. A successful artist in his own right, Moustaki initially made his name as a songwriter of some renown, composing material for many of the top French singers of the late '50s and '60s (including Edith Piaf's classic "Milord"). He moonlighted as a poet, actor, novelist, and journalist at various points in his career, and remained one of France's more ambitious artists as his trademark beard and long, flowing hair turned white.

Moustaki was born in Alexandria, Egypt, on May 3, 1934; his original last name was Mustacchi, and his first name Joseph, Giuseppe, or Yussuf, depending on the language. His parents were Greek and lived on the ethnic melting-pot island of Corfu, where he grew up speaking Italian, Greek, Arabic, and French. Sent to a French-speaking school, he developed a taste for French music and literature from an early age, teaching himself the classic chansons of singers like Edith Piaf and Charles Trenet on piano. In 1951, he finished school and moved to Paris, where his sister had already settled, and worked in her husband's bookstore. In the meantime, he took up the guitar and started writing his own songs, attending musical performances around the city whenever he could; he also began covering Parisian culture for an Egyptian newspaper. A chance meeting with the legendary Georges Brassens at the bookstore gave him the encouragement he needed to continue, and he adopted the pen name Georges Moustaki in tribute to his idol. He began performing as a pianist in a small cabaret, and found more and more work around the Paris nightclub scene. He met Henri Salvador in 1954, co-writing "Il N'y a Plus d'Amandes" with him, and had other songs covered by Jacques Doyen, Catherine Sauvage, and Irène Lecarte. As the '50s wore on, his lyrics grew more personal, resulting in "Les Orteils de Soleil" (one of his earliest paeans to the Mediterranean area), "Donne du Rhum à Ton Homme" (adapted from a Caribbean folk song and recorded by Maria Candido), and "Gardez Vos Rêves."

During this period, Moustaki also befriended guitarist Henri Criolla, who introduced him to the legendary Edith Piaf. Piaf wound up recording several of Moustaki's songs in 1958, including "Eden Blues," "Les Orgues de Barbarie," and "Le Gitan et la Fille," and requested more material. Teaming with longtime Piaf composer Marguerite Monnot, Moustaki penned the lyrics to "Milord," which became one of Piaf's all-time classics, as well a major international hit in 1959. Moustaki accompanied Piaf on her American tour, the two having struck up an intense love affair that lasted the better part of a year. He continued to compose songs for Piaf, including "T'es Beau, Tu Sais," "Faut Pas Qu'il Se Figure," and "Un Étranger," but their ultimate split was quick and permanent.

Moustaki spent the first half of the '60s furthering his musical studies, particularly in the realm of classical guitar. He continued to write, and with Piaf's stamp of approval gracing his work, his songs were recorded by numerous French stars of the era: Yves Montand ("De Shangaï à Bangkok"), Juliette Gréco, Colette Renard, Pia Colombo, Dalida, Tino Rossi, and Barbara ("Vous Entendrez Parler de Lui"), among others. Moustaki also made his first recordings in 1960, and released a few singles on the Pathé-Marconi label over the next few years, none of which attracted much attention; at this point, he didn't really consider himself a singer worthy of note, and the label let him go in 1966. Moustaki took a trip to Greece to reconnect with his roots, and also met actor Serge Reggiani, who was keen to start a singing career and convinced Moustaki to write material for him. Hits like "Sarah," "Ma Liberté," "Madame," "Votre Fille a Vingt Ans," and "Ma Solitude," among others, made Reggiani a star and helped Moustaki regain some of his standing. He also continued to write for Barbara, and toured with her in 1968 to perform the highly successful "La Longue Dame Brune" as a duet. One night, when Barbara was too ill to take the stage, Moustaki was forced to give a solo concert, an event that marked the beginning of his emergence as a singer in his own right.

Securing a new record deal with Polydor, Moustaki issued a couple of 45 sides ("Joseph," "Il Est Trop Tard") in 1969, but didn't break through until the release of "Le Métèque" ("The Mongrel") later that year. A wry celebration of his multicultural roots, "Le Métèque" had been rejected by his old record company, but exploded into a major hit when Moustaki got the chance to perform it on national television. The accompanying album, also titled Le Métèque, was quite popular as well, and Moustaki suddenly found himself a singing star. Over the next few years, he released several more albums (including the live Bobino in 1970) that consolidated his success, often covering Greek songwriters (Manos Hadjidakis, Mikis Theodorakis) and already dabbling in Near East exoticism and other international flavors. To his admirers, his persona suggested a borderless utopia of freedom, brotherhood, and harmony (as on his 1971 smash "En Mediterranée"), with a gentle, wistful sense of romance mixed in.

In 1971, Moustaki acted in the film Mendiants et Orgueilleux, and also recorded its title song. He mounted several international tours during the early '70s, one of which took him to Brazil; fascinated by Brazilian popular music, he delved heavily into bossa nova and tropicalia on his next album, 1973's Déclaration. It featured "Eaux de Mars," a French version of Antonio Carlos Jobim's "Aguas de Março," which proved to be the first of a number of Brazilian adaptations Moustaki would record over the years. 1974's Les Amis de Georges was a tribute project devoted to the songs and musical admirers of Georges Brassens. Moustaki continued to tour the world and record strong LPs through the remainder of the decade: 1975's Humblement Il Est Venu; 1976's Prélude, a collaborative effort with Argentine tango genius Astor Piazzolla, which featured an ode to "Alexandrie"; 1977's Espérance, which contained the popular, Brazilian-flavored "Bahia"; and 1979's Si Je Pouvais T'aider, among others. (Many of Moustaki's albums bore only his name, and fans differentiated between them by referring to the first tracks.)

In 1980, Moustaki took up the accordion, and debuted it on the 1981 album C'est Là. The following year, he teamed up with the Dutch band Flairck for a fully equal collaboration, Moustaki & Flairck. His 1984 solo album featured "Pornographie," the latest of many Manos Hadjidakis adaptations. Moustaki focused mainly on touring during the '80s, fueling his image as a globetrotting cosmopolitan, though he did consign himself entirely to Paris for a series of concerts in 1986; he also published several books, both fiction and non-fiction, starting with 1989's Les Filles de la Memoire. He finally made a high-profile return to recording with 1992's guest-laden Mediterranéen, and took home the Prix National de la Chanson that year. He followed it in 1996 with Tout Reste à Dire and continued to tour steadily, both in France and around the world. Reportedly suffering from emphysema, Georges Moustaki died in Nice, France on May 23, 2013; he was 79 years old.

Avec ma gueule de métèque
De Juif errant, de pâtre grec
Et mes cheveux aux quatre vents
Avec mes yeux tout délavés
Qui me donnent l'air de rêver
Moi qui ne rêve plus souvent
Avec mes mains de maraudeur
De musicien et de rôdeur
Qui ont pillé tant de jardins
Avec ma bouche qui a bu
Qui a embrassé et mordu
Sans jamais assouvir sa faim

Avec ma gueule de métèque
De Juif errant, de pâtre grec
De voleur et de vagabond
Avec ma peau qui s'est frottée
Au soleil de tous les étés
Et tout ce qui portait jupon
Avec mon cœur qui a su faire
Souffrir autant qu'il a souffert
Sans pour cela faire d'histoires
Avec mon âme qui n'a plus
La moindre chance de salut
Pour éviter le purgatoire

Avec ma gueule de métèque
De Juif errant, de pâtre grec
Et mes cheveux aux quatre vents
Je viendrai, ma douce captive
Mon âme sœur, ma source vive
Je viendrai boire tes vingt ans
Et je serai prince de sang
Rêveur ou bien adolescent
Comme il te plaira de choisir
Et nous ferons de chaque jour
Toute une éternité d'amour
Que nous vivrons à en mourir

Et nous ferons de chaque jour
Toute une éternité d'amour
Que nous vivrons à en mourir

With my looks of a metic who's
greek shepherd or wandering Jew
and with my hair as if in war
With these two eyes fully washed out
that make me look dreamer no doubt
me that I don't dream any more
With these two hands of petty a thief
musician too and sneaky stiff
who has been caught in many yards
With these two lips of drunken wit
that kissed a lot and also bit
with thirst not quenched in all regards

With my looks of a metic who's
greek shepherd or wandering Jew
pilferer too and drifting guy
with this dry skin that is rubbed down
from summer suns that made it brown
and from the skirts I won't let by
With this heart that much suffer brought
as much as had suffered a lot
and didn't make fuss out of it
With my poor soul that hasn't got
any chance but in hell to rot
in purgatory to commit

With my looks of a metic who's
greek shepherd or wandering Jew
and with my hair where the wind sears
I'll come for you my captured one
my sweet soul mate, life giving sun
I'll come and drink your twenty years
and I shall be blue blooded prince
a dreamer or teenager since
it's up to you my summer sky
And we will do this every day
in love forever we shall stay
we shall make love until we die

And we will do this every day
in love forever we shall stay
we shall make love until we die

[Romain]

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[Romain]

Jean-Louis Aubert - Les plages - 1987

Album : Plâtre et ciment

Artist Biography by Jason Ankeny (Allmusic)

Best known for his decade-long tenure fronting the influential French rock band Telephone, Jean-Louis Aubert subsequently forged a successful solo career that tackled more personal themes and more complex musical ideas than his previous efforts foreshadowed. Born April 12, 1955, in Nantua, Aubert was the son of a sub-prefect, and raised largely by his parents' servants. A difficult and rebellious teenage period followed, and at 16 he hitchhiked across the U.S., busking on city streets and singing Rolling Stones covers to survive. Upon returning to Paris, Aubert befriended bassist Daniel Roux and drummer Richard Kolinka, with whom he co-founded the band Sémolina -- their lone WEA single, "Et J'y Vais Déjà," vanished upon release, however, and the trio quickly split.

Aubert next entered the musicology program at Paris University, but remained dedicated to a performing career, regularly jamming with Kolinka in the cellar of their home. In late autumn of 1976, Kolinka secured a gig at Paris' American Centre, but when his steady band was unable to commit to the date, he and Aubert recruited guitarist Louis Bertignac and bassist Corine Marienneau to assemble a set list comprised of classic rock hits and Aubert's first original compositions. On November 12, Telephone made their debut performance, playing a largely improvised set to a few hundred patrons. Loud, snotty, and defiantly primitive, the band effectively reinvigorated French rock in one fell swoop. Though by no means the classic frontman, Aubert nevertheless transcended his limits as a vocalist and guitarist with sheer aggressive energy, becoming the poster boy for a new generation of French rock icons.

After a famously raucous March 1977 appearance at the Paris Metro, Telephone toured in support of British act Eddie & the Hot Rods, followed by a date opening for the seminal American band Television. A June 8th performance at Paris' Bus Palladium yielded Telephone's debut single, "Hygiaphone." Six weeks later, the quartet signed to Pathé-Marconi, teaming with producer Mike Thorne for its self-titled debut LP, issued in November. With the 1979 follow-up, Crache Ton Venin, Telephone rocketed to superstardom -- the single "La Bombe Humaine" emerged as a generational anthem, and the album sold in excess of 600,000 copies, capped off by a performance at the annual Fête de l'Humanité in front of an audience of more than 100,000 people.

Tours of Italy, Spain, and North America followed, and while in New York, Telephone began work on their third album, 1981's Au Coeur de la Nuit. After signing to Virgin, the group released Dure Limite in conjunction with their June 14, 1982, Paris concert in support of the Rolling Stones. Another American tour followed, but creative dissension began to grow, and breakup rumors reached a fever pitch in the wake of 1984's Un Autre Monde, as all four members of Telephone began to pursue solo projects; Aubert contributed to an Ethiopian benefit LP recorded by the all-star Chanteurs sans Frontiéres. Finally, in April 1986 he announced the band's demise -- a subsequent live LP proved a bestseller around the same time Aubert and Kolinka reunited with Sémolina bassist Daniel Roux under the name Aubert 'n' Ko, releasing the funk-inspired album Platre et Ciment in 1987.

Aubert launched his solo career in full with 1989's self-produced Bleu Blanc Vert, an intimate and often pastoral album in sharp contrast with his work in Telephone. Its 1992 follow-up, H, proved even more idiosyncratic, while a subsequent tour with Kolinka was documented via the live effort Une Page de Tournée. After guesting on a session headlined by chanson legend Barbara, Aubert returned to work on his next project, 1997's Stockholm, which featured cameos by artists as far-ranging as Nigerian percussion legend Tony Allen and Swedish pop producer Gordon Cyrus. While the thematic and stylistic changes of each successive solo record gradually diminished Aubert's fan base, he nevertheless continued to experiment with sounds and personnel, and with 2001's Comme un Accord, he made the first record of his career without contributions from Richard Kolinka. After a series of self-produced efforts, Aubert handed the reins to Renaud Letang, previously known for helming sessions by Manu Chao and Alain Souchon. Upon topping the French charts in 2003 with "Sur la Route," a duet with singer Raphael, Aubert resumed work on his next solo release, 2005's Ideal Standard, recorded in part with Canadian electroclash producer Gonzales. Premières Prises followed in 2009, while in 2012 Aubert released studio album Roc-éclair and live album Live Vivant.

Sur toutes les plages du monde
Sur toutes les plages y a des mômes
Qui font signe aux bateaux
Sur toutes le plages de tous les coins
Y a des mômes qui tendent la main
Aux navires de passage

Et si pour toi, là-bas c´est l´paradis
Dis-toi qu´dans leur p´tite tête l´paradis
C´est ici hum! c´est ici

Sur toutes les plages de toutes les mers
Sur toutes les plages y a des mômes
Qui tournent le dos à leur mère
Sur toutes les plages, tous les pontons
Sur toutes les plages y a des p´tits garçons
Qui fixent l´horizon hum! l´horizon

Et si pour toi, là-bas c´est l´paradis
Dis-toi qu´dans leur p´tite tête l´paradis
C´est ici hum! c´est ici

Qui veut les prendre à bord?
Pourquoi pas eux d´abord!
Ils sauront être forts
Et dans leur cœur pas de remords
Non, aucun remords

Et par un beau matin
Y en a un plus malin
ou y en a un plus fou
ou peut-être un plus beau
Qui prendra le bateau
Pour le je-ne-sais-où
Pour le soleil ou pour les sous

Dans tous les ports du monde
Dans tous les ports y a des vieux qui débarquent
Et qui vont sur les plages
S´asseoir près des vieilles barques
Et si pour eux, la vie c´était pas l´paradis
Dis-toi qu´dans leur vieille tête l´paradis maintenant
C´est ici, c´est ici

Sur toutes les plages y a des vieux
Qui regardent les mômes
Tendre la main aux bateaux

On all the beaches of the world
On all the beaches there are kids
That are waving to the ships
On all the beaches from all the places
There are kids holding out their hands
To the ships passing by

And if for you, paradise is over there
Tell yourself that paradise is in their small heads
It's here ! It's here !

On all the beaches of all the seas
On all the beaches there are kids
Turning their backs to their mothers
On all the beaches, all the landings
On all the beaches there are little boys
That watch the horizon ! The horizon !

And if for you, paradise is over there
Tell yourself that in their small heads paradise
It's here ! It's here !

Who wants to take them aboard ?
Why not them ?
They will be strong
And in their hearts no remorse
No, no remorse

And on a beautiful morning
There is one smarter
or one un bit more crazy
or one maybe a little prettier
That will board the ship
To go to the unknown
For the sun or for the money

In all the harbours of the world
In all the harbours there are old folk disembarking
And they go to the beaches
To sit down beside old boats
And if for them, life isn't paradise
Tell yourself that now in their old heads paradise
It's here, it's here

On all the beaches of the world, there are old folk
That are watching the kids
Holding out their hands to the ships
Thanks to cpageaul on Lyrics Translate.

[Romain]

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[Romain]

Zaz - On ira ! - 2013

Album : Recto Verso

Artist Biography by Jason Birchmeier (Allmusic)

Zaz is a French pop singer with a Gypsy jazz style who made her chart-topping eponymous album debut in 2010. Born Isabelle Geffroy on May 1, 1980, in Tours, Indre-et-Loire, France, she performed as a singer for much of her life. Her vocals are often compared to those of Edith Piaf. In association with the Play On label, she made her full-length solo debut with the self-titled album Zaz in 2010. Featuring a few songs written and produced by Raphaël, the album was well received by critics and spawned the hit single "Je Veux." As positive word of mouth spread, Zaz steadily rose to the top of the French albums chart, hitting number one in its sixth week of release, and the album eventually went double platinum in France. As her international following grew, Zaz toured extensively throughout Europe, Japan, and Canada in 2012, and she released her second album, Recto Verso, in 2013. Like Zaz's debut, Recto Verso went double platinum in her native France, and was certified gold in Germany, Belgium, Poland, and Switzerland.

On ira
Écouter Harlem au coin de Manhattan,
On ira
Rougir le thé dans les souks à Amman,
On ira
Nager dans le lit du fleuve Sénégal,
Et on verra brûler Bombay sous un feu de Bengale.
On ira
Gratter le ciel en dessous de Kyoto,
On ira
Sentir Rio battre au coeur de Janeiro,
On lèvera
Les yeux sur le plafond de la chapelle Sixtine,
Et on lèvera nos verres dans le café Pouchkine.
Oh ! Qu’elle est belle notre chance,
Aux mille couleurs de l’être humain,
Mélangées de nos différences,
À la croisée des destins.
Vous êtes les étoiles, nous sommes l’univers,
Vous êtes un grain de sable, nous sommes le désert,
Vous êtes mille pages et moi je suis la plume,
Oh, oh, oh, oh ! Oh, oh, oh !

Vous êtes l’horizon, et nous sommes la mer,
Vous êtes les saisons, et nous sommes la terre,
Vous êtes le rivage et moi je suis l’écume.
Oh, oh, oh, oh ! Oh, oh, oh !

On dira
Que les poètes n’ont pas de drapeau,
On fera
Des jours de fêtes autant qu’on a de héros,
On saura
Que les enfants sont les gardiens de l’âme,
Et qu’il y a des reines autant qu’il y a de femmes.
On dira
Que les rencontres font les plus beaux voyages,
On verra
Qu’on ne mérite que ce qui se partage,
On entendra
Chanter des musiques d’ailleurs,
Et l’on saura donner ce qu’on a de meilleur.

Refrain
Vous êtes les étoiles, nous sommes l’univers,
Vous êtes un grain de sable, nous sommes le désert,
Vous êtes mille pages et moi je suis la plume.
Oh, oh, oh, oh ! Oh, oh, oh !

Vous êtes l’horizon, et nous sommes la mer,
Vous êtes les saisons, et nous sommes la terre,
Vous êtes le rivage et moi je suis l’écume.
Oh, oh, oh, oh ! Oh, oh, oh !

We'll go listen to Harlem at the corner of Manhattan
We'll go blush tea in the souks in Amman
We'll go swim in the river Senegal
And we will see Bombay glow under a Bengal fire (lit. see Bombay burn under a Bengal fire)
We'll go scrape the sky below Kyoto
We'll go feel the heartbeat of Rio de Janeiro (lit. feel Rio beat in the heart of Janeiro)
We will raise our eyes to the ceiling of the Sistine Chapel
And we’ll raise our glasses in the cafe Pushkin

Oh what luck do we have (lit. how beautiful our luck is.)
The thousands of colors of the human being (lit. at the thousands of colors of the human being)
To be shared through our differences (lit. mixed to our differences)
At the crossroads of destiny

You are the stars, we are the universe
You are a grain of sand, we the desert
You are a thousand pages and I am the pen
Oh Oh Oh Oh
You are on the horizon and we are the sea
You are the seasons and we are the earth
You are the shore and I am the foam
Oh Oh Oh Oh

We’ll say that poets have no countries (lit. poets have no flags)
We will celebrate our heroes (lit. we’ll make holidays as much as we have heroes)
We’ll know that children are the guardians of the soul
And that there are queens as much as there are women
We’ll say that meeting others make the best trips (lit. we’ll say that meetings make the most beautiful trips)
We’ll see that we deserve only that which is shared
We’ll listen to the rhythms of the world (lit. we’ll hear sing musics of elsewhere)
And we’ll give the best we have in us

Oh what luck do we have (lit. how beautiful our luck is.)
The thousands of colors of the human being (lit. at the thousands of colors of the human being)
To be shared through our differences (lit. mixed to our differences)
At the crossroads of destiny

You are the stars, we are the universe
You are a grain of sand, we the desert
You are a thousand pages and I am the pen
Oh Oh Oh Oh
You are on the horizon and we are the sea
You are the seasons and we are the earth
You are the shore and I am the foam
Oh Oh Oh Oh

[Romain]

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[Romain]

Yves Montand - Les Feuilles Mortes - 1945

Music : Joseph Kosma
Words : Jacques Prévert

Artist Biography by William Ruhlmann (Allmusic)

Yves Montand was an enormously popular singer in France, his adopted country, from the 1940s until his death. He also gave concerts around the world, but he was better-known internationally as an actor.

Montand was born Ivo Livi on October 13, 1921, in the village of Monsummano Alto in the Tuscany region of Italy near Florence. He was the youngest of three children of Giovanni Livi, a broom maker, and Giuseppina (Simoni) Livi. His father was involved with the Communist Party, and in May 1924 the family was forced to move to France to escape political persecution from the Fascists led by Italian dictator Benito Mussolini. They settled in Marseilles and became naturalized French citizens in 1929. At 11, Montand dropped out of school to help support his family during the Depression by working in a noodle factory. He left that job two years later and began working in a hair salon run by his older sister; eventually he passed the test for his barber's license and got a job in another salon. But in September 1938, at age 16, he first sang at an amateur show, and he soon began making professional appearances. Recalling his mother's shout to come home to the family's second-floor residence for dinner, "Ivo, montes!" ("Ivo, come on up!"), which, in her Italian-accented French sounded like "Ivo, monta!," he adopted the stage name Yves Montand.

Montand's singing career was short-circuited by the start of World War II in September 1939. In 1940, he worked in the Marseilles shipyards as Germany overran northern France; he was not able to return to singing until the spring of 1941 under the German occupation. That fall, he first headlined his own vaudeville show in Nice, and he had his first screen appearance as an extra in La Prière aux Etoiles (Prayer to the Stars), shot in January 1942. But from March to October 1942, he had to work in a youth labor camp, as were all 20-year-old French males at the time. In February 1944, fearing that he would be forced to work for the Nazis, he left Marseilles and moved to Paris, where he began performing again. In July 1944, he was booked to open for Edith Piaf at the Moulin Rouge. The two became a couple, and with France being liberated by the Allies, they toured the country in the fall and in the spring of 1945. Montand was then given his first credited role in a film, singing two of his stage favorites, "Luna Park" and "Les Plaines du Far West," in Silence ... Antenne (You're on the Air!). He also took a small part in Etoile Sans Lumière (Star Without Light), a film starring Piaf that opened in April 1946. Starting on October 5, 1946, he headlined at the Etoile theater in Paris for seven weeks; during this period, he and Piaf broke up. Director Marcel Carné's Les Portes de la Nuit (Gates of the Night), Montand's first film in which he had the starring role, opened on December 4, but was poorly received.

Meanwhile, however, he had signed to Odéon Records, which began issuing his recordings. He did not have another film role for more than a year, when L'Idole appeared in February 1948, and his subsequent appearances in such low-budget films of the early 1950s as Paris Chante Toujours (Paris Always Sings), Paris Sera Toujours Paris (Paris Will Always Be Paris), Souvenirs Perdus (Lost Souvenirs), and L'Auberge Rouge employed his talents more as a singer than as an actor. They helped to enhance his status as a stage performer. On March 5, 1951, he began a four-month run at the Etoile in which he appeared for the first time in a "one-man show," (i.e., without any supporting acts on the bill). That summer, he began what turned out to be a long shoot on Henri-Georges Clouzot's Le Salaire de la Peur (The Wages of Fear), a drama in which he played a truck driver hired to transport nitroglycerin to stop an oil-well fire. When it finally appeared in the spring of 1953 (it opened in the U.S. in 1955), it was an enormous success, winning the grand prize at the Cannes Film Festival and finally establishing Montand as a serious actor.

Nevertheless, singing remained his first priority. On December 21, 1951, he married the actress Simone Signoret; two weeks later, he was off on a tour that included France, Switzerland, and Belgium. He made another film, Tempi Nostri (The Anatomy of Love) in 1953, but devoted much more time to singing. On October 5, he opened at the Etoile, where he performed until April 4, 1954, selling nearly 200,000 tickets. During the run, Odéon presented him with a gold record marking sales of one million copies of "Les Feuilles Mortes" ("Autumn Leaves"), a remarkable achievement in the relatively small French record market. (He later switched to Philips Records.) In 1954, he turned to the legitimate stage, co-starring with Signoret in a French adaptation of Arthur Miller's play The Crucible in Paris entitled Les Sorcières de Salem. The play ran through 1955, and a film version was made. This further enhanced Montand's reputation as an actor, and he appeared in more movies in the mid- '50s. But he also found time in 1956-1957 to tour the Soviet Union and Eastern Europe, a trip that began to open his eyes about totalitarianism.

After more film work in 1957 and 1958, Montand launched a major concert tour in September 1958 that began with some preliminary performances before settling into the Elysée music hall in Paris for five months, a run that continued until March 8, 1959, playing 160 performances before 200,000 fans. In December 1958, Montand was approached by American impresario and record company executive Norman Granz, who wanted to bring him to America. Previously, the anti-Communist McCarthy Era in the U.S. would have prevented Montand from obtaining a visa. (Although he himself was not a member of the Communist Party, he was sympathetic to its aims, and his older brother was an official of the party in France.) By the late 1950s, however, this situation was easing in the U.S., and Granz was able to get Montand a visa and book a tour. Prior to that, in the spring and summer of 1959, he toured Europe and performed in Israel. But on September 22, 1959, An Evening With Yves Montand opened at Henry Miller's Theater on Broadway to positive reviews. The show played 42 performances, then Montand appeared in Montreal, Toronto, Los Angeles, and San Francisco. His belated breakthrough in the U.S. and the favorable notices it attracted led to a flurry of stateside record releases of material old and new. Columbia Records brought out One Man Show before the end of the year and in 1960 released both An Evening With Yves Montand and Grandes Chansons. The same year, Monitor Records issued Yves Montand & His Songs of Paris, and Granz's Verve label had Aimez-Vous Yves?

Meanwhile, Montand was forced to postpone a Japanese tour when he received an offer from 20th Century-Fox to co-star opposite Marilyn Monroe in the movie musical Let's Make Love. He shot the film in the winter and spring of 1960 (also engaging in a much-gossiped-about affair with Monroe), and had two singing performances, "Incurably Romantic" and the title song, both featured on the original soundtrack album released by Columbia. He continued what might be called the American phase of his career by quickly shooting a series of Hollywood films, Sanctuary, Goodbye Again, and My Geisha, in 1960-61, and on October 24, 1961, returned to Broadway for 55 performances of his musical act before moving on to Japan and England in early 1962 and opening again at the Etoile in Paris in November 1962. (Meanwhile, in America, Columbia released More Yves Montand and Verve countered with On Broadway.)

But, while his efforts on-stage and before the cameras in the U.S. in 1959-61 expanded Montand's international reputation, they did not make him a star in the U.S. His concert audience was a sophisticated one interested in hearing songs sung in French, but his records did not reach the charts. And on film he remained an exotic who had learned his lines in English phonetically. So, he returned to working primarily in Europe. After his Paris performances, he also, for the first time, turned primarily to filmmaking, relegating his singing career to one of occasional comeback shows for the rest of his life. (Meanwhile, Philips issued Yves Montand Recital Paris, 1963 in the U.S. in 1963, and Columbia had Yves Montand, Paris in 1964, but thereafter his American record releases were few.) The first of those comebacks consisted of 33 shows performed in Paris in the fall of 1968, after which Montand formally announced his retirement from concertizing.

For the rest of the 1960s and in the 1970s, Montand worked frequently in film. His most notable performances included a series of political dramas made with director Constantin Costa-Gavras, Z (1969, the Academy Award-winning Best Foreign Film and a Best Picture nominee), The Confession (1970), and State of Siege (1973), films that condemned oppressive acts carried out by both right-wing dictatorships and Communist regimes. Montand did find time for one more Hollywood movie musical, starring opposite Barbra Streisand in an adaptation of the Broadway show On a Clear Day You Can See Forever (1970), directed by Vincente Minnelli. He sang the title song with Streisand and soloed on "Melinda" and "Come Back to Me" in the film and on the original soundtrack album released by Columbia, which spent almost six months in the charts, but was a modest seller by Streisand's standards.

In 1974, in the wake of the previous year's military coup in Chile, Montand performed a benefit show for Chilean refugees, his first live singing in six years and his only such work of the decade. But at the start of the 1980s, he rescinded his retirement from the stage, and from October 7, 1981, to January 3, 1982, he played to sold-out houses at the Olympia theater in Paris, followed by 48 shows around the country before continuing on to North and South America and Japan, the entire tour lasting more than a year. He worked less frequently in film in the 1980s, his most notable performances being in Claude Berri's Jean de Florette and its sequel Manon of the Spring in 1986. In the second half of the 1980s, he was frequently mentioned as a possible presidential candidate in France, but he declined to run. He did, however, sing a few songs on a television program broadcast during the speculation, Montand at Home, in December 1987. And he was invited to visit Poland during that country's first free elections in the spring of 1989, obliging by singing "Les Feuilles Mortes." In June 1990, he gave a few final performances at the Olympia in Paris. He continued to make occasional films, completing his last one, IP5: The Island of Pachyderms, just prior to his death from a heart attack at age 70 in November 1991.

Although outside France he is viewed largely as a film star, Montand occupies an important position as a post-war French popular singer who followed Charles Trenet and Maurice Chevalier with an earthier, more direct style who anticipated such immediate followers as Jacques Brel and even the rock & roll era. Largely because of the language barrier, his appeal as a singer was restricted largely to his own country, but there it was gigantic and continued without diminution throughout his life.

Oh ! je voudrais tant que tu te souviennes
Des jours heureux où nous étions amis.
En ce temps-là la vie était plus belle,
Et le soleil plus brûlant qu'aujourd'hui.
Les feuilles mortes se ramassent à la pelle.
Tu vois, je n'ai pas oublié...
Les feuilles mortes se ramassent à la pelle,
Les souvenirs et les regrets aussi
Et le vent du nord les emporte
Dans la nuit froide de l'oubli.
Tu vois, je n'ai pas oublié
La chanson que tu me chantais.

{Refrain:}
C'est une chanson qui nous ressemble.
Toi, tu m'aimais et je t'aimais
Et nous vivions tous les deux ensemble,
Toi qui m'aimais, moi qui t'aimais.
Mais la vie sépare ceux qui s'aiment,
Tout doucement, sans faire de bruit
Et la mer efface sur le sable
les pas des amants désunis.

Oh I would like you so much to remember
The joyful days when we were friends.
At that time, life was more beautiful
And the sun burned more than it does today.
Fallen leaves can be picked up by the shovelful.
You see, I have not forgotten...
Fallen leaves can be picked up by the shovelful,
So can memories and regrets.
And the north wind takes them
Into the cold night of oblivion.
You see, I have not forgotten
The song you used to sing me.

(chorus)
This song is like us.
You used to love me and I used to love you
And we used to live together,
You loving me, me loving you.
But life separates lovers,
Pretty slowly, noiselessly,
And the sea erases on the sand
The separated lovers' footprints.


Covers :

Chanson
Richard Anthony, Alain Barrière, Andrea Bocelli, Dalida, Jacques Douai, Fairuz(en langue arabe), Serge Gainsbourg, Juliette Gréco, Daniel Guichard, Françoise Hardy, In-Grid, Kevin Johansen, Bernard Lavilliers, Nicole Martin (album Cocktail de douceur), Al Martino, Eddy Mitchell, Yves Montand, Marcel Mouloudji, Édith Piaf, Iggy Pop (album Préliminaires, 2009), Sheila & Ringo, Tino Rossi, Jean Sablon, Cora Vaucaire, Jean Ferrat.

English version : Autumn Leaves :
Édith Piaf, Eric Clapton, Frank Sinatra, Nat King Cole, Tony Bennett, Barbra Streisand, Susan Boyle, Jermaine Jackson, Emmy Rossum (version alternée anglais - français), Mark Lanegan.

Mélodie classique
François Le Roux, Jason Kouchak, Françoise Masset, Damien Top, Philippe Jaroussky, Maurice André.

Electro
Coldcut. Cecile Bredie compilation café del mar Volume 16 titre 01. Victor Hacala.

Jazz
Cannonball Adderley, Gene Ammons, Chet Baker, Eva Cassidy, Nat King Cole, John Coltrane, Miles Davis, Billy Eckstine avec Benny Carter, Lisa Ekdahl, Bill Evans, Erroll Garner, Stan Getz, Stéphane Grappelli, Ahmad Jamal, Keith Jarrett, Diana Krall, Eddy Louiss, Bobby McFerrin accompagné de Chick Corea, Joe Pass, Art Pepper (Intensity, 1960), Michel Petrucciani, Ringo Shiina, Sarah Vaughan, Oscar Peterson, Wynton Marsalis.

Rock
François Cambuzat & Putan Club, Matthew Caws & Lara Meyerratken, Eric Clapton, Iggy Pop, The Quiets, Billy Talent.

[Romain]

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[Romain]

Juliette - Rimes Féminines - 1996

Album : Rimes Féminines

Artist Biography by Jason Birchmeier (Allmusic)

Juliette Nourredine, known to her fans simply as Juliette, is an acclaimed singer/songwriter from France whose albums regularly chart within the national Top Ten. Born on September 25, 1962, in Paris, France, the chanteuse began her performance career in Toulouse, where as a teenager she performed the songs of Jacques Brel and Edith Piaf on piano. In time she began writing songs of her own and singing. One of her early performances, a theater show from 1986, was released independently on cassette as Juliette (1987). Another live performance, ¿Que Tal? (1991), followed several years later on the label Le Rideau Bouge. Subsequent releases on the label include Irrésistible (1993), her studio album debut; Juliette Chante aux Halles (1995), another theater performance; Rimes Féminines (1996), a studio album; and Deux Pianos (1998), a live album co-featuring Didier Goret. Assassins Sans Couteaux (1998) marked a turning point in the career of Juliette. Reissued by Universal in 2000, it was the first of her major-label releases. In 2001 Universal reissued the remainder of her back catalog titles on Le Rideau Bouge. Her next album of new material, Le Festin de Juliette (2002), was her most popular to date, peaking at number 21 on the French albums chart its opening week. In the wake of its success, the best-of collection Ma Vie, Mon Oeuvre, Vol. 1 (1993) was released as a career retrospective, subtitled "20 Ans, 20 Chansons." Subsequent albums Mutatis Mutandis (2005) and Bijoux & Babioles (2008) were even more popular, both charting within the Top Ten of the French albums chart.

Dans un corps vide entrer mon âme,
Tout à coup être une autre femme
Et que Juliette Noureddine
En l´une ou l´autre s´enracine.
Élire parmi les éminentes
Celle qui me ferait frissonnante,
Parmi toutes celles qui surent s´ébattre,
Qui surent aimer, qui surent se battre,
Mes sœurs innées, mes philippines,
Mes savantes et mes bécassines

Julie, Juliette ou bien Justine,
Toutes mes rimes féminines
Clara Zetkin, Anaïs Nin
Ou Garbo dans La Reine Christine

Sur le céleste carrousel,
Choisir entre ces demoiselles
Camille Claudel, Mam´zelle Chanel
Ou l´enragée Louise Michel

Vivre encore colombe ou rapace,
Écrire, chanter ou faire des passes
Margot Duras, Maria Callas
Ou bien Kiki de Montparnasse

Naître demain, renaître hier,
En marche avant, en marche arrière,
M´incarner dans ces divergences
Ces beautés, ces intelligences

Et jouir du bienheureux trépas
Pour dans leurs pas, mettre mes pas
Musidora, La Pavlova
Ou mon aïeule, la grande gueule Thérésa

Que j´en aie l´esprit ou l´aspect
Ou bien même les deux s´il vous plaît
Juliette Drouet, La Signoret
Ou la grande Billie Holiday

Tous voiles dehors ou en chantant,
Avec l´une d´elles me révoltant
Flora Tristan, Yvonne Printemps
Ou la farouche Isadora Duncan

Pour toute arme ayant leur fierté
Et pour amante la liberté
Les soeurs Brontë, Louise Labé
Ou Lou-Andréas Salomé

Même s´il faut en payer le prix,
Être la fleur être le fruit,
Être Alice Guy, être Arletty,
Marie Dubas, Marie Curie

Mais s´il vous plaît, point de naissance,
De jeunesse, ni d´adolescence,
Épargnez-moi la chambre rose,
Soyez bonne, ô métempsycose

Permettez à votre Juliette
De ne point mûrir en minette
Mais en Colette, en Mistinguett
Ou pourquoi pas Madame de Lafayette

Mettez-moi, je vous le demande
Instamment, dans la cour des grandes
Judy Garland, Barbra Streisand
Ou cette bonne dame de George Sand

Placez-moi du côté du cœur,
Côté talent, côté bonheur
Loïe Fuller, Dottie Parker
Ou sainte Joséphine Baker

Oui tout de suite les feux de la gloire,
Les feux de la rampe et de l´Histoire
La Yourcenar, Sarah Bernhardt
Ou la très sage Simone de Beauvoir

Une voix d´argent au fond d´un port,
Une plume d´acier ou un cœur d´or
La Solidor, Christiane Rochefort
Ou Marceline Desbordes-Valmore

Les belles sans peur et sans marmaille
Toutes nues au fort de la mitraille
Sylvia Bataille, Anna de Noailles
Camarade Alexandra Kollontaï

Et les agitatrices de bouges
Brandissant l´espoir et la gouge
Olympe de Gouges, Rosa-la-Rouge
Et la vieille Germaine de Montrouge

La lignée des dominatrices,
Ladies, mesdames, doñas ou misses
Comme Cariathys ou Leda Gys,
Angela et Bette Davis

Le train du diable et ses diablesses,
Les vénéneuses et les tigresses
Lola Montès, Gina Manès
Et l´empoisonneuse Borgia Lucrèce

Enfin j´ai, pour être sincère,
Du goût pour les belles harengères
Yvette Guilbert, Claire Bretécher,
J´irais même jusqu´à Anne Sinclair

Mais si tant de souhaits vous chagrinent,
S´il est contraire à la doctrine
De viser haut dans les karmas,
Alors faites dans l´anonymat.
En attendant que tout bascule,
Que Satan ne me congratule
Ou que les anges me fassent la fête,
Permettez une ultime requête

Faites-la renaître votre frangine
En n´importe qui, en fille d´usine,
En fille de rien ou de cuisine,
En Croate ou en Maghrébine,
En Éponine, en Clémentine,
En Malka Malika ou Marilyn
Et si votre astrale cuisine
Par hasard ne le détermine
J´accepterai par discipline
De revenir en cabotine,
En libertine, en gourgandine,
Tiens, en Juliette Noureddine!

To put my soul in an empty body,
All of a sudden, being another woman,
And that Juliette Noureddine
In one of them takes roots.
Choosing among the eminent women,
The one who would make me a shivering one,
Among all of those who knew how to frolic,
Who knew how to love, who knew how to fight,
My innate sisters, my twins,
My scholars, and my silly geese

Julie, Juliette, or Justine,
All of my feminine rhymes
Clara Zetkin, Anaïs Nin
Or Garbo, in “Queen Christina”

On the celestial carrousel,
Choosing among these ladies,
Camille Claudel, Mam’zelle Chanel
Or the enraged Louise Michel

Living again as a dove, or a raptor,
Writing, singing, or doing tricks
Margot Duras, Maria Callas
Or even Kiki from Montparnasse

Being born tomorrow, being reborn yesterday,
Marching forward, marching in reverse
Embodying myself in these divergences,
These beauties, these intelligent women

And enjoying the fortunate demise,
To put my steps into theirs
Musidora, La Pavlova
Or my great-grandmother, that big mouth, Mother Teresa

Whether I have [their] mind, or [their] looks,
Or even both of them, please
Juliette Drouet, La Signoret,
Or the Great Billie Holiday

All sails set, or singing,
With one of them, rebelling
Flora Tristan, Yvonne Printemps,
Or the fierce Isadora Duncan

Having as their only weapon their proud,
and as a lover, freedom
The Brontë sisters, Louise Labé,
Or Lou-Andréas Salomé

Even if I have to pay the price,
To be the flower, to be the fruit,
To be Alice Guy, to be Arletty,
Marie Bubas, Marie Curie

But please, no birth,
nor youth, nor adolescence,
Spare me the pink room,
Be good, o metempsychosis*

Allow your Juliette
not to grow up as a trendy girl*,
But as a Colette, a Mistinguett,
Or why not Madame de Lafayette

Take me, I’m asking you,
Instantly into the presence of the great ones
Judy Garland, Barbra Streisand,
Or that good woman George Sand

Place me beside the heart,
Beside the talent, the happiness
Loïe Fuller, Dottie Parker,
Or saint Joséphine Baker

Yes, immediately, in the fires of glory,
In the limelight and in history
La Yourcenar, Sarah Bernhardt,
Or the very wise Simone de Beauvoir

A silver voice at the bottom of a harbour,
A wordsmith of steel, or a heart of gold
La Solidor, Christiane Rochefort,
Or Marceline Desbordes-Valmore

The fearless belles without brood
All naked in the midst of the hail of bullets
Sylvia Bataille, Anna de Noailles
Comrade Alexandra Kollontai

And agitators of dives,
Brandishing hope and gouge
Olympe de Gouges, Rosa-la-Rouge,
And the old Germaine de Montrouge

The line of [female] dominators,
Ladies, Mesdames, doñas, or misses
Like Cariathys, or Leda Gys,
Angela and Bette Davis

The train of Devil and his she-devils,
Poisonous ones and tigresses
Lola Montès, Gina Manès,
And the poisoner Borgia Lucrèce

At last I have, to be sincere,
A taste for beautiful fisher mongers
Yvette Guilbert, Claire Bretécher,
I’ll go as far as Anne Sinclair

But if so many wishes torment you,
If it goes against the doctrine
To aim for great karma,
Then make up your mind for anonymity.
Waiting for everything to fall into place,
For Satan to congratulate me
Or for angels to throw me a party,
Allow me an one last request

Let your sista be reborn,
As anybody, as a factory girl,
As a nobody, or as a kitchen servant,
As a Croatian or as a North African,
As Éponine, as Clémentine,
As Mala Malika or Marylin
And if your ‘kitchen zodiac’
By chance doesn’t decide it,
I’ll accept, disciplined,
To come back as a show-off,
As a libertine, as a slut,
Even as Juliette Noureddine!
Thanks to Joutsentpoika in TranslateLyrics.

[Romain]

Next Post.

[Romain]

Philippe Katerine - Louxor J'adore - 2005

Album : Robots après tout

Artist Biography by Jason Birchmeier (Allmusic)

Philippe Katerine, generally known simply as Katerine, is a French alternative singer/songwriter who emerged to underground acclaim in the mid-'90s and steadily garnered commercial success in subsequent years as his renown grew. Born Philippe Blanchard on December 8, 1968, in Chantonnay, Vendée, he made his full-length commercial recording debut in 1991 with Les Mariages Chinois on the Rosebud label. A home-recorded lo-fi album comprised of one- or two-minute minimalist songs, Les Mariages Chinois proved highly influential and was reissued with bonus material in 1993 as Les Mariages Chinois et la Relecture. Subsequent albums L'Éducation Anglaise (1994), Mes Mauvaises Fréquentations (1996), Les Créatures (1997), and L'Homme à Trois Mains (1999) solidified Katerine's reputation as a leading light of the French indie pop scene. His reputation was further enhanced by a variety of collaborations; most notably, he wrote an entire album for Anna Karina, Une Histoire d'Amour (2000). By the turn of the century, Katerine's fan base had grown to the point where he began hitting the French albums chart with regularity, beginning with 8ème Ciel (2002). His mainstream breakthrough came in 2005 with Robots Après Tout, which reached the Top 30 of the French albums chart and spawned the Top 40 hit single "Louxor J'adore." Thanks to the popularity of "Louxor J'adore" and the follow-up single "100% V.I.P.," Robots Après Tout spent nearly two years on the French albums chart, logging 97 weeks in total. In the wake of his mainstream breakthrough, the album Studiolive (2007), essentially a re-recording of Robots Après Tout done live in the studio, was released in a couple different formats, one of which included a lengthy DVD. His self-titled release in 2010 was accompanied by videos for each track -- directed by his friend and bassist Gaëtan Chestnut -- which combined the wonderful imagery Katerine had created with the visuals captured by Chestnut. During 2011 he embarked on a triple album project with a jazz band formed by saxophonist François Ripoche. The album, 52 Reprises dans l'Espace, consisted 52 cover versions of songs by artists such as Pierre Bachelet and Phenomenal Club. In addition to his musical output, Katerine established himself as a talented actor after the turn of the century, appearing in numerous films.

J´adooore
Regarder danser les gens
J´y retourne souvent
Au bar du Louxor
Regarder danser les gens
j´adore, j´adore, j´adore, j´adore, j´adore, j´adooore

Les institutrices, puéricultrices, administratrices, dessinatrices,
Les boulangers, les camionneurs, les policiers, les agriculteurs,
Les ménagères, les infirmières, les conseillères d´orientation,
Les chirurgiens, les mécaniciens, les chômeurs

J´adooore
Regarder danser les gens
Et de temps en temps
Je coupe le son...
Et je remets le son
Je coupe le son...
Je remets le son
Et je recoupe le son...
Et... attention!... Je remets le son

J´adooore

Les gens arrêtent de danser
Ils se demandent qui a coupé
Ils commencent à m´encercler
Et là, je me sens en danger
Alors je leur dis "Prenez-moi,
Faites de moi n´importe quoi,
Pendez-moi, la tête en bas
Comme la dernière fois"

J´adooore
Regarder danser les gens
Ah! Je trouve ça fascinant
Au bar du Louxor
Regarder danser les gens
J´adore, j´adore, j´adore, j´adore, j´adore, j´adooore

Et je coupe le son...
Et je remets le son
Et je recoupe le son...
Je remets le son

J´adooore
J´adore, j´adore, j´adore, j´adore
Et je coupe le son!

I adoreeeeeeeeeeeeeeeeeeeee
looking at people dancing
ah i'm coming back often
at the Luxor bar
looking at people dancing
I adore, I adore, I adore, I adore, I adooooooore
the teachers, nursery nurses, property managers, graphists, the bakers, the truckers, the police officers, the farmers, the housewives, the nurses, the carreer advisers, the surgeons, the mechanics, the unemployed
I adoreeeeeeeeeeeeeeeeeeee
looking at people dancing
and from time to time
I mute the song
and I put it back on
and then I mute the song
and I put it back on
and then I mute the song
and I put it back on
I adoreeeeeeeeeeeeeeeeeeeee
People stop to dance
they're asking who stopped the song
and they begin to surround me
and then I feel the danger
so I say take me
do as you wish of me
hang me head down
like last time
I adoreeeeeeeeeeeeeeeeeeeeee
looking at people dancing
I find it fascinating
at the Luxor bar
looking at people dancing
I adore, I adore, I adore, I adore, I adooooooore
I mute the song
and I put it back on
and then I mute the song
and I put it back on
I adoreeeeeeeeeeeeeeeeeeeeeee
I adore, I adore, I adore, I adore
And I mute the song
I adore
I adore
And I mute the song
Thanks to gregoire.tricoire on Lyrics Translate

[Romain]

Next post

[Romain]

Régine - Les P'tits papiers - 1965

Wikipédia :
Régine was born in Etterbeek, Belgium to Polish-Jewish parents. and spent much of her early life in hiding from the Nazis in occupied wartime France. It was here, she told writer-director Michael Feeney Callan, who documented her home life in his television series, My Riviera, through deprivation and poverty, she developed a lifelong obsession with shoes: "We were poor, we had nothing, so [shoes] became a symbol of freedom."

After the war, Régine became a torch singer and by 1953 was a well-known nightclub manager in Paris. She is widely attributed with the invention of the modern-day discothèque, by virtue of creating a new, dynamic atmosphere at Paris' Whisky à Gogo, with the ubiquitous jukebox replaced by disc jockeys utilising linked turntables. In 1957, she opened Chez Régine in the Latin Quarter, which quickly became the place to be seen for playboys and princes. As Régine's celebrity expanded she established other venues under the name Chez Régine's in London, New York, Monte Carlo and elesewhere. These were ultra selective venues in prime urban locations, all featuring her signature "disco-style" layout. It is commonly accepted that Régine's Paris Whisky à Gogo became the inspiration for the later establishment of the Whisky a Go Go nightclub in Los Angeles. Her two attempts at opening clubs in London both failed within months and she blamed this on what she called the British "lack of style".

Aside from inventing the discothèque concept, Régine introduced France to the Twist, having seen the Paris cast of West Side Story warming up to Chubby Checker records. Thereafter, she famously taught public figures, like the Duke of Windsor, to do the Twist. Her circle of celebrity friends was large and for more than a decade she presided over an ever-growing multi-million dollar international nightclub empire. She was fêted in the French media particularly and paralleled her business life with a career in performance, scoring a notable hit single with the French version of Gloria Gaynor's "I Will Survive". Through the 1970s, she also appeared in small roles in a number of French films.

During the expansion of her business empire in the 1970s, Régine moved to New York and lived in a suite of the Delmonico Hotel where she opened one of her clubs on the ground floor of the hotel. The club served food under the direction of French chef Michel Guerard. At this time there were 25 clubs bearing her name across three continents and it was said you could party at a Régine's somewhere in the world 17 hours out of every 24. In the 1970s, she designed a line of packable, unwrinkable evening clothes that were "Ready-to-Dance" which were sold at Bloomingdale's.

A feisty and outspoken person by nature, in 1996 Régine and her son were arrested for refusing to comply with crew requests and smoking on an American Airlines flight. It was alleged that, though she was travelling economy, Régine had demanded a first class upgrade, which the airline declined.

In June 2011, she appeared as Solange in Follies at the Kennedy Center in Washington, D.C..

Régine lives with her husband in St Tropez. She has one son, Lionel, from her first husband Leon Rothcage whom she married when she was 16

Laissez parler
les p'tits papiers
à l'occasion
papier chiffon
puiss'nt-ils un soir
papier buvard
vous consoler

Laisser brûler
les p'tits papiers
papier de riz
ou d'Arménie
qu'un soir ils puiss'nt
papier maïs
vous réchauffer

Un peu d'amour
papier velours
et d'esthétique
papier musique
c'est du chagrin
papier dessin
avant longtemps

Laissez glisser
papier glacé
les sentiments
papier collant
ça impressionne
papier carbone
mais c'est du vent

Machin Machine
papier machine
faut pas s'leurrer
papier doré
celui qu'y touche
papier tue-mouches
est moitié fou

C'est pas brillant
papier d'argent
c'est pas donné
papier-monnaie
ou l'on en meurt
papier à fleurs
ou l'on s'en fout

Laissez parler
les p'tits papiers
à l'occasion
papier chiffon
puissent-ils un soir
papier buvard
vous consoler

Laisser brûler
les p'tits papiers
papier de riz
ou d'Arménie
qu'un soir ils puiss'nt
papier maïs
vous réchauffer

Let them speak
these bits of paper.
For second hand
rag paper1
May they one evenig,
like blotting paper
bring you solace2.

Let them burn
these bits of paper:
be it of rice
or incense.
May they one evening
like coarse cigarettes3
warm you.

A bit of love
velvet paper
and aesthetics
score sheets
that's sadness
drawing paper4
before long.

Let them slip, like
glossy paper5
the feelings
sticky paper,
This is impressing
carbon paper6
but that's just empty words.

What's-your-name
tapewriter paper7
Let's not delude ourselves
golden paper8
The one who touches
fly paper
is half crazy.

That's not brillant
silver paper
That's expensive
money paper
Either you die of it
flower paper
or you don't care.

The whole song is based on puns with various kind of paper.
1. chiffon: old, second hand clothes
2. drink your tears
3. "papier maïs" (corn paper) is used in strong "Gitanes maïs" French cigarettes
4. I don't see the pun on this one
5. French name can be read as "frosted paper"
6. pun on "impression": printing and impressive
7. "machin/machine" is used to refer to someone you don't know by name (in a slightly patronizing way).
"machine" is also the usual name of a typewriter (or was at the time the song was written)
8. from the saying "all that glitters is not gold"

[Romain]

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[Romain]

A.S. Dragon - Dirty - 2003

Album : Spanked

Wikipédia :
Formed by the label Tricatel, A.S. Dragon was originally created by their founder Bertrand Burgalat as a group to accompany the writer/poet/singer Michel Houellebecq. They founded the group out of many former members of Montecarl, and the singer, Uminski, was a childhood friend of Romain Humeau, the singe of Eiffel, who had formerly been the "backing band" of Houellebecq.

After having been assured of the deal with Houellebecq, A.S. Dragon recorded with Burgalat, and released a live album : Bertrand Burgalat Meets A.S. Dragon. The musicians collaborated with many other singers who influenced them, such as Alain Chamfort and Jacno.

But the group became frustrated at not having a real existence, and therefore decided to recruit the singer Natacha Le Jeune. Free from its mentors, A. S. Dragon recorded two albums, still with Tricatel : Spanked in 2003, and Va chercher la police in 2005.

Style
The founder members of A.S. Dragon were mostly influenced by pop from the 60s/70s, which can be found in their sugary compositions, classical arrangements, and psychedelia, typical of the genre. But the arrival of Natacha in the group expanded their musical horizons to sound more like a female Iggy Pop and included references to the Stooges, in their music (more aggressive sounding), in the lyrics, (the song "I wanna be your doll" recalls the famous "I Wanna Be Your Dog"), and overall in their noisy concerts, which literally showed their rock energy.

Certain fans thought that A.S. Dragon were a key group on the scene : Natacha has a very physical presence, and she played with her public persona.

In May 2007, AS Dragon announced an album without the participation of Natacha; they chose to recruit their next singer for their opus from their blog on Myspace.

This disc will be produced by A.S. Dragon, formed from their concerts, the group having touched a large public, who can propose the songs they would like to hear, including rare songs from the 80s.

To note is a former member of A.S. Dragon, Peter Von Poehl, who has since launched a solo career.

[Romain]

Next post.


Hello, there is anyone here?

Or I'm alone?


A lonesome french guy... alone... alone... alone.


Oh! some echoes...echoes...echoes....


Anybody........

[Romain]

Kavinsly - Nightcall - 2010

Album : Outrun


Artist Biography by Celeste Rhoads (Allmusic)

Born out of the imagination of electronica composer Vincent Belorgey, Kavinsky is the fictional character who graces the covers of both Teddy Boy and 1986, Belorgey's first two EPs. The illustrated Kavinsky bears a striking resemblance to the French DJ himself, although the back-story Belorgey created to go with his pseudonym is far removed from the artist's own modest history. The story goes that after crashing his Testarossa in 1986, Kavinsky reappeared as a zombie in 2006 to make electronic music. Luckily for Belorgey, his zombie tale serves as a good story line for a music video, as he demonstrated with the single "Testarossa Overdrive," from the Teddy Boy EP.

Belorgey stumbled upon electronic music by chance, when he was given a discarded Apple computer by Quentin Dupieux, also known as Mr. Oizo. The fully loaded Apple led to Kavinsky's first tracks, while several roles in Mr. Oizo's music videos and the film Steak gave him an opportunity to meet record label executives. A recording contract followed shortly after Belorgey presented his first tracks to Record Makers head Marc Tessier du Cros. In 2006, Belorgey, under the pseudonym Kavinsky, released Teddy Boy. The 1986 EP followed in 2007 and Kavinsky was soon touring with Justice, SebastiAn, and Daft Punk. In 2008, he released a third EP, Blazer, on the Fool's Gold label, while 2011 found his "Nightcall" being used in the title sequence for the film Drive. "Nightcall" landed on Kavinsky's 2013 effort Outrun, the album named after Sega's hit video game, which just happened to feature a Testarossa.


Wikipédia :
"Nightcall" is a song by French electro house artist Kavinsky, released in 2010. It was produced with Daft Punk's Guy-Manuel de Homem-Christo and mixed by electronic artist SebastiAn. It features Lovefoxxx, lead singer of Brazilian band CSS, on vocals and includes remixes by Dustin N'Guyen, Jackson and his Computer Band and Breakbot. The track was used in the title sequence for the film Drive, directed by Nicolas Winding Refn and starring Ryan Gosling and Carey Mulligan. "Nightcall" was included on Kavinsky's debut studio album, OutRun (2013).

The song was also used in the soundtrack for the film The Lincoln Lawyer, directed by Brad Furman and starring Matthew McConaughey. It was sampled by Lupe Fiasco for his single "American Terrorist III". It was also sampled by Childish Gambino for his song "R.I.P" on his mixtape Royalty and by Will Young for his 2012 song called "Losing Myself".

"Nightcall" was covered by English band London Grammar for their debut album, If You Wait (2013). It was also covered by former Bluetones frontman Mark Morriss on his second solo album, A Flash Of Darkness.

[DocBrown]

Be assured, Romain, that I eagerly look forward to each of your posts. I have learned a lot, and I'm glad you decided to include both biographies and lyrics for those of us with limited skills in French.

[Romain]

Thanks Docbrown. For the lyrics, I have some difficulties to find lyrics for the obscure or more recents songs. I'm sorry to not be able to find all of them.

Have a good day.

[Romain]

Paul Dukas - L'apprenti sorcier - 1897 - Classical music

Wikipédia :
Paul Abraham Dukas (French: [dykas]; 1 October 1865 – 17 May 1935) was a French composer, critic, scholar and teacher. A studious man, of retiring personality, he was intensely self-critical, and he abandoned and destroyed many of his compositions. His best known work is the orchestral piece The Sorcerer's Apprentice (L'apprenti sorcier), the fame of which has eclipsed that of his other surviving works. Among these are the opera Ariane et Barbe-bleue, a symphony, two substantial works for solo piano, and a ballet, La Péri.

At a time when French musicians were divided into conservative and progressive factions, Dukas adhered to neither but retained the admiration of both. His compositions were influenced by composers including Beethoven, Berlioz, Franck, d'Indy and Debussy.

In tandem with his composing career, Dukas worked as a music critic, contributing regular reviews to at least five French journals. Later in his life he was appointed professor of composition at the Conservatoire de Paris and the École Normale de Musique; his pupils included Maurice Duruflé, Olivier Messiaen, Manuel Ponce, and Joaquín Rodrigo.

The Sorcerer's Apprentice (French: L'apprenti sorcier) is a symphonic poem by the French composer Paul Dukas, written in 1896–97. Subtitled "Scherzo after a ballad by Goethe," the piece was based on Johann Wolfgang von Goethe's 1797 poem of the same name. By far the most performed and recorded of Dukas's works, its notable appearance in the Walt Disney 1940 animated film Fantasia has led to the piece becoming widely known to audiences outside the classical concert hall.

Description :
Inspired by the Goethe poem, Dukas's work is part of the larger Romantic genre of programmatic music, which composers like Franz Liszt, Claude Debussy, Jean Sibelius and Richard Strauss increasingly explored as an alternative to earlier symphonic forms. Unlike other tone poems, such as La mer by Debussy or Finlandia by Sibelius, Dukas's work is, like works such as Till Eulenspiegel's Merry Pranks by Strauss, descriptively programmatic, closely following the events described in the Goethe poem. It was customary, in fact, to publish the poem as part of the orchestral score.


Instrumentation :
The instrumentation of the piece consists of two flutes and piccolo, two oboes, two clarinets and bass clarinet, three bassoons and contrabassoon (or contrabass sarrusophone), four horns, two trumpets (in C), two cornets, three trombones, timpani, glockenspiel, bass drum, cymbals, triangle, harp and strings. The formidable glockenspiel part is usually handled by a percussionist playing a special keyed glockenspiel. Dukas also made a transcription for two pianos of this orchestral piece.

Fantasia :
Although The Sorcerer's Apprentice was already a popular concert piece, it was brought to a much larger audience through its inclusion in the 1940 Walt Disney animated concert film Fantasia, in which Mickey Mouse plays the role of the apprentice. Disney had acquired the music rights in 1937 when he planned to release a separate Mickey Mouse film, which, at the suggestion of Leopold Stokowski, was eventually expanded into Fantasia.

Stokowski's version for the soundtrack of Fantasia remains one of the most famous. Although too early for high fidelity, the performance was recorded using multi-tracks and was the first use of stereophonic sound in a film. It is the only part of the film for which Stokowski conducted a studio orchestra, rather than the Philadelphia Orchestra.
http://www.youtube.com/watch?v=cWZJcKM8pO0

[Romain]

Next post.

[Romain]

Au P'tit Bonheur - J'Veux du Soleil - 1991

Album : Mal de Vivre

Je suis resté qu´un enfant
Qu´aurait grandi trop vite
Dans un monde en super plastique
Moi j´veux retrouver... Maman!
Qu´elle me raconte des histoires
De Jane et de Tarzan
De princesses et de cerfs-volants
J´veux du soleil dans ma mémoire.

{Refrain:}
J´veux du soleil
J´veux du soleil
J´veux du soleil
J´veux du soleil

J´veux traverser des océans
Et devenir Monte-Christo
Au clair de lune
M´échapper de la citadelle
J´veux devenir roi des marécages
Me sortir de ma cage
Un Père Noël pour Cendrillon
Sans escarpin...

J´veux faire danser Maman
Au son clair des grillons
J´veux retrouver mon sourire d´enfant
Perdu dans le tourbillon
Dans le tourbillon de la vie
Qui fait que l´on oublie
Que l´on est resté des mômes
Bien au fond de nos abris.

I remained but a child
that would have grown up too fast
in a wicked plastic world
Me, I want my Mommy back !
She would tell me tales
of Jane and Tarzan
of princesses and kites.
I want some sunlight in my memories.

(chorus)
I want some sunlight
I want some sunlight
I want some sunlight
I want some sunlight

I want to cross some oceans
and become Monte-Cristo
in the moonlight,
escaping from the stronghold.
I want to become king of the swamps,
step outside my cage,
a Santa Claus for Cindirella,
without court shoe...

(chorus)

I want to lead Mommy to a dance
in the clear song of the crickets.
I want to find back my childish smile
that was lost in the turmoil
in the turmoil of life
that makes us forget
that we remained kids
snugly hidden in our shelters.

[Romain]

Next post.

[Romain]

La Compagnie Créole - Ca fait rire les oiseaux - 1986

Album : Ca fait rire les oiseaux.

La Compagnie Créole is a popular French pop band from French Guiana and the French West Indies, who started singing in the 1980s. They originally started singing in Creole but quickly adopted French as their main language. They are known mostly for the feel-good and happy-go-lucky quality reverberating in all of their songs: popular themes and imagery include colorful rainbows, sunshine, music and harmless animals as a positive morale booster all set to Caribbean rhythms. Many of their records have been produced by Daniel Vangarde.

Ça fait rire les oiseaux. (It makes the birds laugh)
Ça fait chanter les abeilles. (It makes the bees sing)
Ça chasse les nuages (It chases (away) the clouds)
Et fait briller le soleil. (And makes the sun shine)
Ça fait rire les oiseaux (It makes the birds laugh)
Et danser les écureuils. (And the squirrels dance)
Ça rajoute des couleurs (It adds colours)
Aux couleurs de l'arc-en-ciel. (To the colours of the rainbow)
Ça fait rire les oiseaux, (It makes the birds laugh)

Oh, oh, oh, rire les oiseaux (Oh, oh, oh, the birds laugh)
Ça fait rire les oiseaux, (It makes the birds laugh)
Oh, oh, oh, rire les oiseaux. (Oh, oh, oh, the birds laugh)

Une chanson d'amour, (a love song)
C'est comme un looping en avion : Ça fait battre le cœur (Is like looping in an airplane: It makes the heart beat)
Des filles et des garçons. (of girls and boys)
Une chanson d'amour, (A love song)
C'est l'oxygène dans la maison. (Is oxygen in the house)
Tes pieds ne touchent plus par terre. (Your feet don't touch the ground)
T'es en lévitation. (You're in levitation)
Si y a d' la pluie dans ta vie, (If there is rain in your life)
Le soir te fait peur. (Night frightens you)
La musique est là pour ça. (The music is there for this)
Y a toujours une mélodie (There is always a melody)
Pour des jours meilleurs. (To make the days better)
Allez, tape dans tes mains : Ça porte bonheur. (Go on, clap your hands: It brings happiness)
C'est magique, un refrain (It's magic, a refrain/chorus)
Qu'on reprend tous en cœur (That we all sing in chorus/together)
Ça fait rire les oiseaux. (It makes the birds laugh)

(repeat all)

Ça fait rire les oiseaux.
Ça fait chanter les abeilles.
Ça chasse les nuages
Et fait briller le soleil.
Ça fait rire les oiseaux
Et danser les écureuils.
Ça rajoute des couleurs
Aux couleurs de l'arc-en-ciel.
Ça fait rire les oiseaux,
Oh, oh, oh, rire les oiseaux.

Tu es revenu chez toi (You have come (back) home/returned to your home)
La tête pleine de souvenirs : Des soirs au clair de lune, (Your head is full of souvenirs: Evenings under the moonlight)
Des moments de plaisir. (Moments of pleasure/happiness)
Tu es revenu chez toi (You have come home)
Et tu veux déjà repartir (And you already want to leave)
Pour trouver l'aventure (To search for adventure)
Qui n'arrête pas de finir. (Which never ends)
S’ il y a du gris dans ta nuit, (If there is gray/darkness in your night)
Des larmes dans ton coeur (Tears in your heart)
La musique est là pour ça. (The music is there for this)
Y a toujours une mélodie (There is always a melody)
Pour des jours meilleurs. (To make the days better)
Allez, tape dans tes mains : Ça porte bonheur. (Go on, clap your hands: It brings happiness)
C'est magique, un refrain (It's magic, a refrain/chorus)
Qu'on reprend tous en coeur (The we all sing in chorus/together)

Ça fait rire les oiseaux.
Ça fait chanter les abeilles.
Ça chasse les nuages
Et fait briller le soleil.
Ça fait rire les oiseaux
Et danser les écureuils.
Ça rajoute des couleurs
Aux couleurs de l'arc-en-ciel.
Ça fait rire les oiseaux,
Oh, oh, oh, rire les oiseaux

[Romain]

Next post.

[Romain]

Marquis de Sade - Wanda's Loving Boy - 1981

Album : Rue de Siam

Artist Biography by Olivier Duboc (Allmusic)

Formed in 1977, Marquis de Sade were one of the truly classic French combos of the late '70s and early '80s, leaving a lasting imprint on the Rennes music scene. In three years, Franck Darcel (guitar), Christian Dargelos (keyboards), Philippe Pascal (vocals), and an ever-changing set of additional musicians came up with two major records in French pop/rock history, both containing witty, dark, and exciting music comparable to Howard Devoto's Magazine, mixing post-punk and new wave with a drop of funk to produce an intensely nervous, modern, yet romantic sound, often copied but rarely equaled.
After a first EP (Air Tight Cell/Henry), their first album, 1979's Dantzig Twist, was recorded in collaboration with Arnold Turboust (later to collaborate with Etienne Daho) on keyboards and Daniel Paboeuf on saxophone. Their material having made a strong impression and after the release of another EP (Rythmiques) in 1980, Marquis de Sade recorded Rue de Siam at separate sessions in Paris and London, showing signs of strained relations within the band. As a matter of fact, this 1981 release was their last.
The band's 1981 breakup led to the formation of half a dozen groups, such as Marc Seberg (including Philippe Pascal, Pierre Thomas, and Anzia) and Les Nus (featuring Christian Dargelos). Among numerous projects, Franck Darcel formed Octobre and went on to produce rising star Etienne Daho.
Though Marquis de Sade didn't achieve mass popularity, the band has earned nearly cult status, and has achieved some recognition alongside '80s underground faves like Taxi Girl during the mid-2000s new wave/post-punk revival.

[Romain]

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[Romain]

Jean Ferrat - Que serais-je sans toi ? - 1964

Words : Louis Aragon
Album : La Montagne

Artist Biography by Mark Deming (Allmusic)

Jean Ferrat was a French singer, songwriter, and poet who enjoyed a long if sometimes controversial career with his passionate songs of love and Leftist politics. Ferrat was born Jean Tenenbaum in Vaucresson, Hauts-de-Seine, on December 26, 1930, the last of four children. His father, a Russian Jew, was a jeweler who relocated the family to Versailles in 1935, but in 1942 he was captured by Axis forces and sent to Auschwitz, where he was executed less than a week later. Young Jean was hidden by Communist members of the French resistance and survived the war; in 1945 he dropped out of school to go to work and help support the family as a chemist's assistant. But he had developed a keen interest in both poetry and performing, and he began playing guitar with a jazz combo, writing songs, and acting with a small theater company.
After adopting the stage name Jean Laroche, he began performing as a solo act, and adapted Louis Aragon's poem "Les Yeux d'Elsa" into a song; when it became a hit for singer André Claveau in 1956, it gave the recently renamed Jean Ferrat a major career boost, and he was signed to a record contract in 1958. Ferrat's debut single was a commercial failure, but after forming a partnership with publisher and musical director Gerard Meys, he enjoyed much greater success with 1960's "Ma Mome," and Ferrat soon became a star. Ferrat's songs openly dealt with his political concerns; his 1963 single "Nuit et Brouillard" (Night and Fog) was a meditation on the Holocaust and its consequences, while a number of his other tunes dealt with the struggle of the working class, and he was an outspoken supporter of Fidel Castro, writing a number about him called "Cuba Si." (Ferrat was just as willing to criticize the Soviet Union for its misdeeds, and "Bilan" was a song attacking the failures of the USSR.) Despite the media's hesitancy toward his more controversial material, Ferrat enjoyed significant popular success through the 1960s, but he was never comfortable with performing live and withdrew from the concert stage in 1973. Living in the rural village of Antraigues, Ferrat published poetry, adapted the work of others and continued to write songs, periodically releasing new albums through the 1970s and '80s. His final album, another collection of musical adaptations of Aragon's poetry, was released in 1995. After a long illness, Ferrat died on March 13, 2010.

Que serais-je sans toi qui vins à ma rencontre
Que serais-je sans toi qu'un coeur au bois dormant
Que cette heure arrêtée au cadran de la montre
Que serais-je sans toi que ce balbutiement

J'ai tout appris de toi sur les choses humaines
Et j'ai vu désormais le monde à ta façon
J'ai tout appris de toi comme on boit aux fontaines
Comme on lit dans le ciel les étoiles lointaines
Comme au passant qui chante on reprend sa chanson
J'ai tout appris de toi jusqu'au sens du frisson

Que serais-je sans toi qui vins à ma rencontre
Que serais-je sans toi qu'un coeur au bois dormant
Que cette heure arrêtée au cadran de la montre
Que serais-je sans toi que ce balbutiement

J'ai tout appris de toi pour ce qui me concerne
Qu'il fait jour à midi qu'un ciel peut être bleu
Que le bonheur n'est pas un quinquet de taverne
Tu m'as pris par la main dans cet enfer moderne
Où l'homme ne sait plus ce que c'est qu'être deux
Tu m'as pris par la main comme un amant heureux

Que serais-je sans toi qui vins à ma rencontre
Que serais-je sans toi qu'un coeur au bois dormant
Que cette heure arrêtée au cadran de la montre
Que serais-je sans toi que ce balbutiement

Qui parle de bonheur a souvent les yeux tristes
N'est-ce pas un sanglot de la déconvenue
Une corde brisée aux doigts du guitariste
Et pourtant je vous dis que le bonheur existe
Ailleurs que dans le rêve ailleurs que dans les nues
Terre terre voici ses rades inconnues

Que serais-je sans toi qui vins à ma rencontre
Que serais-je sans toi qu'un coeur au bois dormant
Que cette heure arrêtée au cadran de la montre
Que serais-je sans toi que ce balbutiement


What would I be without you who came to meet me?
What would I be but a soul in the woods, sleeping
For just this hour held frozen on the face of the watch?
What would I be without you but these few stammered words?

I learned everything about human nature from you,
And from that moment on, I saw the world as you do.
I learned everything from you, the same way we drink from fountains,
The same way we read the distant stars in the sky,
The same way, after someone passes by singing, we continue his song.
I learned everything from you, even how to shiver.

What would I be without you who came to meet me?
What would I be but a soul in the woods, sleeping
For just this hour held frozen on the face of the watch?
What would I be without you but these few stammered words?

I learned everything from you that applied to me,
That it's daytime at noon, that a sky can be blue,
That happiness is not an oil lamp in a bar.
You took my hand in this modern hell,
Where man no longer knows what it means to be a couple.
You took my hand like a happy lover.

What would I be without you who came to meet me?
What would I be but a soul in the woods, sleeping
For just this hour held frozen on the face of the watch?
What would I be without you but these few stammered words?

Someone talking about happiness often has sad eyes.
Isn't that a sob of disappointment,
A string snapped under the fingers of a guitarist?
Nevertheless, I tell you happiness exists
Not just in dreams, not just in the clouds.
Earth, Earth, here is its undiscovered safe harbour.

What would I be without you who came to meet me?
What would I be but a soul in the woods, sleeping
For just this hour held frozen on the face of the watch?
What would I be without you but these few stammered words?

[Romain]

Next post.

[Romain]

Hugues Aufray - Céline - 1966

Artist Biography by Jason Ankeny (Allmusic)

The music of French folk troubadour Hugues Aufray existed in stark opposition to the prevailing yé-yé sound that dominated pop charts in the mid-'60s. A disciple of Bob Dylan who regularly adapted his hero's songs into French, Aufray nevertheless proved a popular favorite whose own compositions, most notably "Santiano" and "Celine," quickly entered the mainstream vernacular. Born August 18, 1929, in the Parisian suburb of Neuilly sur Seine, Hughes spent much of his adolescence in a Dominican school in the south of France after the German occupation forced his family to flee their home. Following his parents' divorce, he relocated with his father to Madrid, returning to Paris in 1948 to study at the Ecole des Beaux-Arts. To make ends meet, Aufray sang on the streets for spare change, eventually leaving school a year later to fulfill his military duty by serving a stint in the Alps as a member of the mountain infantry. Aufray spent much of the 1950s singing in Parisian bars and cabarets, building a crowd-pleasing repertoire dominated by Latin American folk songs and Georges Brassens compositions. Only in 1959 did he begin to earn greater notoriety after winning a local amateur competition sponsored by radio station Europe n°1. The exposure helped Aufray land a record deal with the Barclay label, and by year's end he issued his debut single, "Y'avait Fanny Qui Chantait." The record quickly captured the attention of Maurice Chevalier, who invited him to travel to the U.S. and perform as part of the "New York au Bal" all-star showcase.

Aufray stayed in New York City for several weeks, and after a brief return to Paris he again traveled stateside, befriending folk superstars Peter, Paul & Mary as well as a rising singer/songwriter named Bob Dylan. When Hughes again went home to Paris, he carried several Dylan compositions in his suitcase, also adopting the so-called "skiffle" style popular among students on both sides of the Atlantic. With 1961's "Santiano," Hughes scored his first hit, introducing a modern folk standard that remains a favorite of successive generations of schoolchildren. Two years later he entered the annual Eurovision Song Contest, representing Luxembourg with "Dès Que le Printemps Revient," and opened for rock superstar Johnny Hallyday at the famed Olympia. Finally, in 1965 he realized a longtime goal with Aufray Chante Dylan, a collection of Dylan covers that vaulted him to new fame throughout much of western Europe. The 1966 hit "Celine" proved another popular favorite, but in 1970 he abruptly changed course, abandoning the populist anthems and nature hymns of previous efforts to produce Avec Amour, a deeply intimate collection of love songs dedicated to his wife Helene. Commercial and critical reactions were profoundly mixed, and Aufray spent the next year in relative seclusion, tending to his farm in the Ardeche. He finally resurfaced in 1973 headlining the Paris cabaret Tête de l'Art, followed by a series of gigs dubbed "Espace Vert" presented at the Théâtre de la Renaissance.

Aufray spent the remainder of the decade making brief returns to the limelight followed by long stretches at his country home. He briefly emerged in 1976 with the album Aquarium, followed by a short solo tour, and two years later delivered the two-disc set Transatlantic, which he supported with a three-month stint at the Paris cabaret Don Camillo. But 1980's Hugues and 1982's Caravane passed without attendant live appearances, and only in 1983 did Aufray return to the stage, playing the Olympia as well as a short African tour. Petit Homme appeared two years later, but by now both radio and the press turned a deaf ear to Aufray's music. He nevertheless retained a loyal cult following and in 1991 celebrated his 30th anniversary as a recording artist with a series of sold-out dates at the Olympia (later yielding the 1993 live LP Route 91). With 1995's Aufray Trans Dylan, he returned to the music that was the source of his initial inspiration, and in 1999, at the age of 70, issued Chacun Sa Mer, an LP influenced by Celtic and Latin traditions. With 2005's Hugues Aufray Chante Félix Leclerc, Aufray celebrated another seminal influence, crediting the Quebecois legend with shaping his own decision to write and sing in French.

Dis-moi, Céline, les années ont passé
Pourquoi n'as-tu jamais pensé à te marier ?
De tout's mes soeurs qui vivaient ici
Tu es la seule sans mari

Non, non, non, ne rougis pas, non, ne rougis pas
Tu as, tu as toujours de beaux yeux
Ne rougis pas, non, ne rougis pas
Tu aurais pu rendre un homme heureux

Dis-moi, Céline, toi qui es notre aînée
Toi qui fus notre mèr', toi qui l'as remplacée
N'as-tu vécu pour nous autrefois
Que sans jamais penser à toi ?

Non, non, non, ne rougis pas, non, ne rougis pas
Tu as, tu as toujours de beaux yeux
Ne rougis pas, non, ne rougis pas
Tu aurais pu rendre un homme heureux

Dis-moi, Céline, qu'est il donc devenu
Ce gentil fiancé qu'on n'a jamais revu ?
Est-c' pour ne pas nous abandonner
Que tu l'as laissé s'en aller ?

Non, non, non, ne rougis pas, non, ne rougis pas
Tu as, tu as toujours de beaux yeux
Ne rougis pas, non, ne rougis pas
Tu aurais pu rendre un homme heureux

Mais non, Céline, ta vie n'est pas perdue
Nous sommes les enfants que tu n'as jamais eus
Il y a longtemps que je le savais
Et je ne l'oublierai jamais

Ne pleure pas, non, ne pleure pas
Tu as toujours les yeux d'autrefois
Ne pleure pas, non, ne pleure pas
Nous resterons toujours près de toi
Nous resterons toujours près de toi


Tell me, Celine, the years have passed
Why have you never thought to get married ?
Of all my sisters who lived here
You are the only one without a husband

No, no, no, don't blush, no, don't blush
You still, you still have beautiful eyes
Don't blush, no, don't blush
You could have made a man happy

Tell me, Celine, you who is our eldest sibling
You who were our mother, you who replaced her
Did you only live for us at the time
And never thought about yourself ?

No, no, no, don't blush, no, don't blush
You still, you still have beautiful eyes
Don't blush, no, don't blush
You could have made a man happy

Tell me, Celine, what happend to him
That nice fiancé we never saw again ?
Was it to keep from abandoning us
That you've let him leave ?

No, no, no, don't blush, no, don't blush
You still, you still have beautiful eyes
Don't blush, no, don't blush
You could have made a man happy

Of course not, Celine, your life isn't wasted
We are the children you never had
I've known it for a long time
And I will never forget it

Don't cry, no, don't cry
You still have the eyes of your youth
Don't cry, no, don't cry
We will always stay near you
We will always stay near you

[Romain]

NExt Post

[Romain]

Arthur H - Cheval de Feu - 2011

Album : Baba Love

Wikipédia :
He is the son of the French singer Jacques Higelin and Nicole Courtois. After traveling in the West Indies, he studied music in Boston before returning to Paris and developing his eclectic but highly personal musical style, drawing on such influences as Thelonious Monk, Serge Gainsbourg, the Sex Pistols, jazz, blues, Middle Eastern music and the tango. He first performed in 1988 in clubs in Paris, as leader of a trio with bassist Brad Scott and drummer Paul Jothy.

His first album, Arthur H (1990), combined rhythmic experimentation and bal-musette elements with a vocal style which has been compared to Tom Waits. He toured widely around this time, particularly in France and Japan, adding a fourth band member, Jon Handelsman (saxophone), and produced a second album, Bachibouzouk (1992). In early 1993, he did a six week season at the Magic Mirrors, an antique circus big top, which was later put on as a touring show and recorded on the live album En chair et en os.

In 1996, he released the album Trouble Fête, following which he performed a season at the Gymnase in Paris. The live album Fête Trouble (1997) included some tracks from these shows as well as others recorded on tour in Africa. He toured the USA and Canada in 1998.

In 2000, he wrote the soundtrack for Michel Couvelard’s film, Inséparables, before touring in Asia and Canada. His next album, Pour Madame X (2000), featured the touring band of Nicolas Repac (guitar), Brad Scott (double bass) and Laurent Robin (drums).

In 2001, he took part in the show "Cabaret Imprudent" with "Le Cirque Cahin-caha". The following year, he released the album Piano Solo, recorded live in a studio and mainly consisting of solo interpretations of earlier songs. This was followed by a band album, Négresse Blanche (2003), comprising tracks dedicated to the memory of famous women such as "Marilyn Kaddish" and "Bo Derek".

In 2005, a planned tour of China was cancelled, and he returned to the studio to record the album Adieu Tristesse. This was the most commercially successful of his career, and included several duets, one with his father and another, "Est-ce que tu aimes?", with the musician -M- (Matthieu Chedid). He subsequently toured widely in France, Lebanon and Canada.

In 2006, he published a book, Onirique attaque, containing lyrics, reflections and photographs. He also composed the soundtrack for the film "L’homme qui rêvait d'un enfant", directed by Delphine Gleize. The soundtrack was performed by an ensemble of children from a local music school.

The album Show Time, issued late in 2006, was recorded live on tour and includes duets with Matthieu Chedid, Pauline Croze, Lhasa de Sela and Jacques Higelin. In June 2008 he released the album L'Homme du Monde, which won the award of Pop/Rock Album of the Year 2009 at La Victoire de la Musique.

His 2010 double CD, Mystic Rumba, contained 24 songs from his repertoire performed solo at the piano, the result in part of a snow storm which cut the power in his studio during recording. The next album, Baba Love, was released in October 2011. In 2012, he collaborated with Nicolas Repac on the album L'Or Noir, comprising musical settings of poems by Caribbean writers.

Je dévalais dans les ravines
dans les prairies j'étais sauvage
ma vitesse c'est l'infini
ma colère c'est la tornade.

Quelque chose dans le vent
me dit qu'il est temps.

Oh mon rêve je t'ai trouvé
prêt de la falaise réfugié

jusqu'à la source on s'est hissé
l'amour nous a désaltérés.

Quelque chose dans le vent
me dit qu'il est temps.

Alors on a rejoint les autres
nous les vifs indomptables
chevaux de vent chevaux de feu.

La chevauchée fantastique
n'a pas de début et n'a pas de fin.

Quelque chose dans le vent
me dit qu'il est temps.

I was tumbling down in the gullies
Into the meadows, I was wild
My speed is the infinity,
My anger is the tornado.

Something in the wind
Tells me it's time.
Oh my dream, I've found you
Near the cliff you took refuge in.

To the spring, we climbed,
Love quenched our thirst
Something in the wind
Tells me it's time

Then we went back to the others
Us, the indomitable and the sharp
Horses of wind, horses of fire.
The tremendous ride
Has no beginning and no end
Something in the wind
Tells me it's time.

[Romain]

Next post.

[Romain]

Music list since the beginning :

Georges Bizet - Les pêcheurs de perles / Je crois entendre encore - 1863
Camille Saint-Saëns - Danse Macabre op 40 - 1874
Paul Dukas - L'apprenti sorcier - 1897
Claude Debussy - Suite Bergamasque - Clair de lune - 1905
Maurice Ravel - Boléro - 1928
Lucienne Boyer - Parlez-moi d'amour - 1930
Gaston Ouvrard - Je ne suis pas bien portant - 1934
Mireille et Jean Sablon - Puisque vous partez en voyage- 1938
Lucienne Delyle - mon amant de Saint-Jean - 1942
Charles Trénet - Que Reste-t'il de nos amour ? - 1942
Yves Montand - Les Feuilles Mortes - 1945
Henri Salvador - Le loup, la biche et le chevalier (une chanson douce) - 1950
Brassens & Patachou - Maman, papa - 1952
Boris Vian - Fais-moi mal, Johnny - 1956

Juliette Gréco - Il n'y a plus d'après - 1960
Bourvil - C'était bien (au petit bal perdu) - 1961
Salvatore Addamo - Tombe la neige - 1963
Jean Ferrat - Que serais-je sans toi ? - 1964
Françoise Hardy - La Nuit Est Sur La Ville - 1964
France Gall - Laisse tomber les filles - 1964
Les Parisiennes - Il fait trop beau pour travailler - 1964
Régine - Les P'tits papiers - 1965
Hugues Aufray - Céline - 1966
Mireille Mathieu - Paris en colère - 1966
Pierre Henry - Psyché Rock - 1967
Brigitte Bardot - Harley Davidson - 1967
Stella - Si vous connaissez quelque-chose de pire qu'un vampire, parlez m'en toujours, ça pourra peut-être me faire sourire - 1967
Barbara - Du bout des lèvres - 1968
Jacques Dutronc - Proverbes - 1968
Claude François - Comme d'habitude - 1968
Michel Polnareff - Le bal des Laze - 1968
Georges Moustaki - Le Métèque - 1969

Jean-Jacques Perrey - E.V.A. - 1970
Boby Lapointe - Méli-Mélodie - 1970
Michel Polnareff - Qui A Tué Grand' Maman - 1971
Julien Clerc - Ce n'est rien - 1971
Léo Ferré - Avec le temps - 1971
Nicoletta - mamy Blue - 1971
Maxime Le Forestier - San Fransisco - 1972
Jean-Claude Vannier - Les gardes volent au secours du roi - 1972 - OST
Les variations - Je suis juste un rock'n'roller - 1972
Alain Goraguer - La Planète Sauvage - 1973 - OST
Magma - Mekanïk Destruktïw Kommandöh - 1973/1989
Daniel Guichard - Mon vieux - 1974
Nino Ferrer - Le sud - 1974
Christophe - Les Mots Bleus - 1974 
Dalida - Il venait d'avoir 18 ans - 1974
Gérard Manset - Il voyage en solitaire - 1975
Jeanne Moreau - India Song - 1975
Jane Birkin - Ballade de Johnny Jane - 1976
Jean-Michel Jarre - Oxygène Part IV - 1976
Philippe Sarde - Le locataire - Main title - 1976 - OST
Pierre Perret - Mon P'tit Loup - 1979

Trust - Antisocial - 1980
Taxi Girl - Cherchez le garçon - 1980
Charlélie Couture - Comme un avion sans aile - 1981
Marquis de Sade - Wanda's Loving Boy - 1981
Renaud - Manu - 1981
Richard Gotainer - La ballade de l'obsédé - 1982
Indochine - L'aventurier - 1982
Michel Jonasz - La boîte de Jazz - 1985
Jean-Jacques Goldman - Je te donne - 1985
Bérurier Noir - Le renard - 1985
Mylène Farmer - Libertine - 1986
La Compagnie Créole - Ca fait rire les oiseaux - 1986
Guesch Patti - Etienne - 1987
Jean-Louis Aubert - Les plages - 1987
Les Négresses Vertes - Voilà L'été - 1988 
Bernard Lavilliers - On The Road Again - 1988
Richard Gotainer - Le Combat De Rock - 1989 

Zouk Machine - Maldon - 1990
Niagara - J'ai Vu - 1990
Pigalle - Dans la salle du bar tabac de la rue des Martyrs - 1990
Au P'tit Bonheur - J'Veux du Soleil - 1991
Les Rita Mitsouko - Les Amants - 1991
William Sheller - un Homme Heureux - 1991
Mc Solaar - Bouge de là ! - 1991
Alain Souchon - Foule Sentimentale - 1993 
L'affaire Louis Trio - Mobilis In Mobile - 1993 
IAM - Le Mia - 1994
Suprême NTM - Paris sous les bombes - 1995 
Dominique A - Le Twenty-Two bar - 1995
Juliette - Rimes Féminines - 1996
Yann Tiersen - J' suis jamais allé - 1996
Louise Attaque - J't'emmène au vent - 1997
Daft Punk - Around The World - 1997
Alain Bashung - LA nuit je mens - 1998

Etienne Daho et Dani - Comme un Boomerang - 2001
Hubert-Félix Thiéfaine - Guichet 102 - 2001
Brigitte Fontaine et Noir Désir - Bis Baby Boum Boum - 2001
Noir Désir - Le vent nous portera - 2001
Johnny Hallyday - Marie! - 2002
M - Qui de nous deux ? - 2003
A.S. Dragon - Dirty - 2003
Philippe Katerine - Louxor J'adore - 2005
Emilie Simon - Le vieil amant - 2006
EZ3kiel - Adamantium - 2008
Benjamin Biolay - Brandt Rhapsodie - 2009
BB Brunes - Lalalove you - 2009
Anaïs - Mon coeur, mon amour - 2009

Arthur H - Cheval de Feu - 2011
Orelsan - Suicide Social - 2011
Cascadeur - Walker - 2011
Sébastien Tellier - Cochon Ville- 2012
Moodoïd - De Folie Pure - 2013
Zaz - On ira ! - 2013