France - One song per day.

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Romain
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Location: Lyon, France

Re: France - One song per day.

Post by Romain »

Henri Salvador - Syracuse - 1962
Chanson, Pop, Jazz, Novelty, Calypso


Artist Biography by Steve Huey (Allmusic)
Henri Salvador enjoyed one of the longest careers of any French cabaret artist, debuting professionally in the mid-'30s and recording -- with satisfying results -- all the way into the new millennium. For much of his career, Salvador was known for his jazzy guitar work, his comic talents, and novelty songs, and a distinct Brazilian influence in his brand of chanson. A star in France since the end of World War II, Salvador shifted into children's music for much of the '70s before reclaiming his old audience. He reinvented himself again with 2000's Chambre Avec Vue, a gentle, nostalgic collection of love songs that, thanks in part to the Buena Vista Social Club phenomenon, was reissued in America by the legendary jazz label Blue Note.
Salvador was born on July 18, 1917, in Cayenne, French Guiana. His father came from Spanish stock and his mother was descended from Caribbean natives, and both had been born on the island of Guadeloupe. The family moved to Paris when Salvador was seven, and at age 11, he discovered American jazz via Louis Armstrong and Duke Ellington. He started playing the guitar, influenced primarily by the great gypsy jazzman Django Reinhardt, and at age 16 landed his first professional gig with Paul Raiss' orchestra. In 1935, he began performing with a jazz quartet at Jimmy's Bar, a popular cabaret. In addition to establishing his talents as a comedian, this exposure led to a gig with American violinist Eddy South in 1936, and also a meeting with his idol Django Reinhardt, for whom he served as accompanist for a brief period.

Salvador's promising career was interrupted by World War II; he enlisted in the military in 1937 and served for four years. He quickly found work with Bernard Hilda's Cannes-based jazz orchestra, and from there was hired by orchestra leader Ray Ventura for his comic presence. Ventura's group spent much of the remainder of World War II touring South America, particularly Brazil, with an act highlighted by Salvador's vocal impressions of Popeye. He performed his first solo shows in Brazil in 1942, and when he returned to France after the war in 1945, he decided to embark on a solo career.

Salvador's time in Brazil helped him break away from his dominant Reinhardt influence, and he incorporated elements of samba into much of his subsequent work. He started his own group and, in 1947, cut his first solo sides for Polydor, including "Clopin Clopant," "Maladie de l'Amour," and "Ma Doudou." The following year, he appeared in the operetta Le Chevalier Bayard alongside Yves Montand. In 1949, Salvador was awarded the prestigious Grand Prix du Disque de l'Académie Charles Cros on the strength of two hits, "Parce Que Ça Me Donne du Courage" and "Le Portrait de Tante Caroline." He followed them with one of his all-time classics, "Le Loup, la Biche, et le Chevalier (Une Chanson Douce)."

Salvador spent much of the early '50s giving live performances, both in France and abroad. He moved over to the Philips label in 1952 and issued the LP À Pleyel in 1955. Late the following year, he made his first appearance in the United States, right in the midst of the rock & roll craze. After appearing on The Ed Sullivan Show, Salvador returned to France and hooked up with songwriting partner Boris Vian. Adopting the pseudonym Henri Cording, Salvador began writing rock & roll songs with Vian and recording them with a group dubbed the Original Rock and Roll Boys. Oddly humorous novelty numbers like "Rock and Roll Mops" and "Le Blues du Dentiste" gave France some of its earliest exposure to the new music. Salvador moved to the Barclay label in 1958, but unfortunately, Vian passed away the following year, having collaborated on over 400 songs with Salvador in their brief but hugely productive partnership.

Salvador soldiered on, culling another live album, Alhambra, from his performances at the titular venue in 1960. He embarked on a successful 12-week run on Italian television in 1961, which encouraged him to concentrate almost exclusively on that medium for his live performances. He and his wife Jacqueline started their own music publishing company and label, Disques Salvador, and he quickly boosted them with a hit, "Le Lion Est Mort Ce Soir," in 1962. He followed that with the Monsieur Boum Boum LP in 1963, and subsequently started a new label, Rigolo, that would be the home of a series of hit singles from 1964-1968: "Syracuse," "Zorro Est Arrivé" (an adaptation of the Coasters' "Along Came Jones"), "Le Travail C'est le Santé," "Juanita Banana," "Veunise," "Quand Faut Y Aller, Faut Y Aller," and "Mon Pote le Blues," among several others. Salvador closed out the '60s with a series of popular television specials, as well as the LP C'est Beau de Faire un Show in 1969.

In 1971, Salvador morphed into a children's singer with an original song that recounted the plot of the Disney film The Aristocats. The resulting album, Henri Salvador Chante 'Les Aristochats' et le Monde Merveilleux de Disney, helped him win his second Grand Prix du Disque. Over the next five years, Salvador recorded five more children's albums that relied heavily on Disney films, in particular tackling Snow White and the Seven Dwarfs, Robin Hood, and Pinocchio; he also made recordings of LaFontaine's fables. Following his wife's death in 1976, Salvador returned to adult music, issuing two albums -- Salvador 77 and Les Canotiers -- over the next two years. In 1979, he recorded Salvador/Vian, a tribute album for Boris Vian that revisited 12 of their best-known works. Salvador en Fête followed in 1980, recapping some of his most celebrated moments on record.

After this burst of activity, Salvador slowed his pace a bit, concentrating more on television performances and his return to the concert stage in 1982. The latter was documented on the double-album Live du Spectacle de la Porte de Pantin. In 1984, Salvador retired his label -- in part because his wife had always handled most of its everyday operation -- and signed with EMI/Pathé Marconi, for whom he debuted with 1985's all-new Henri. The French songwriters union SACEM honored him with its Grand Prix de l'Humour in 1987, and the following year he was knighted as a Chevalier in the Legion d'Honneur. A new album, Des Goûts et des Couleurs, appeared in 1989 and proved to be his last for EMI.

Salvador kicked off the '90s by returning to his roots in jazz and blues. He appeared at the Montreux Jazz Festival in 1991, and two years later performed with the great French jazz pianist Michel Petrucciani. In 1994, he signed a new deal with Sony and traveled to New York to record the jazzy Monsieur Henri album; the live Casino de Paris followed a year later. In 1996, he received a special lifetime achievement award at the Victoires de la Musique Awards, where he performed a duet with Ray Charles.

After resting comfortably on his laurels for several years, Salvador returned to recording in 2000 with Chambre Avec Vue, a high-profile comeback that featured a number of promising young songwriters, a duet with Françoise Hardy, and some of Salvador's first self-penned material in quite some time. A gentle, delicate, romantic fusion of French pop and bossa nova, Chambre Avec Vue was a huge hit with the French public; it also won him Best Male Artist and Album of the Year awards at the Victoires de la Musique. The recent success of the Buena Vista Social Club album and documentary in America had suddenly made hot commodities of older foreign musicians, and in 2002, Blue Note reissued Salvador's album under its English title, Room with a View. Meanwhile, Salvador embarked on a triumphant tour of France and, later, North America. He returned with a similar-sounding follow-up, Ma Chère et Tendre, in 2003, and three years later Révérence, an album that was recorded mostly in Brazil and included duets with Caetano Veloso and Gilberto Gil, came out. Henri Salvador died at age 90 from a ruptured aneurysm at his home in Paris on February 13, 2008.


Chanson:
Syracuse is a 1962 French chanson standard, written by Bernard Dimey and composed by Henri Salvador, performed and covered by many performers including Jean Sablon, Henri Salvador, and Yves Montand.

DocPlayer: "The meeting between Henri Salvador and Bernard Dimey in 1962 was a literary artistic encounter, a meeting of work and text. Dimey tells us about the creation of the work: Syracuse, I have never been there, it's a pretty word like Valparaíso. I was at Henri Salvador's house, who was at the piano and I on the other side, I wrote on a sheet of paper: "I would so much like to see Syracuse, Easter Island and Kairouan". And I told him: find me a start on that, in the meantime, I'll look for the next step. And within an hour, we had it done. »

Henri Salvador, who oriented his career as a jazzman towards that of a comedian, gave his song to the fashionable crooner of the time, Jean Sablon, his first performer. The title became a standard in French chanson when Salvador played it for the Yves Montand-Simone Signoret couple. Montand made it one of the great successes of his repertoire, and of French song, which contributed to the success of Syracuse in Sicily as a tourist destination.

The song evokes a trip around the world, with exotic dream destinations, including Syracuse, Easter Island, Kairouan, the gardens of Babylon, the palace of the Great Lama, the lovers of Verona, the summit of Fujiyama, the land of calm morning, fishing for cormorant, palm wine, and Paris... "It tells the imaginary story of an exotic change of scenery in dream places where Dimey, in the end, will never go. »

Better sound:
https://www.youtube.com/watch?v=mrwlbAi-yqc

J'aimerais tant voir Syracuse
L'île de Pâques et Kairouan
Et les grands oiseaux qui s'amusent
A glisser l'aile sous le vent

Voir les jardins de Babylone
Et le palais du Grand Lama
Rêver des amants de Vérone
Au sommet du Fuji Yama

Voir le pays du matin calme
Aller pêcher au cormoran
Et m'enivrer de vin de palme
En écoutant chanter le vent

Avant que ma jeunesse s'use
Et que mes printemps soient partis
J'aimerais tant voir Syracuse
Pour m'en souvenir à Paris

I wish I could see Syracuse
Easter Island and Kairouan
and the great birds which playfully
glide on a wing against the wind,

to see the Babylon gardens,
the palace of the Great Lama,
to muse about Verone's lovers
atop Fuji Yama mountain,

to see the land of calm morning,
to go cormorant fishing
and get drunk on palm wine
listening to the singing wind.

Still, before my youth is worn out,
and before my springtimes are gone
I wish I could see Syracuse
to remember it in Paris.
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Romain
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Joined: Fri Feb 10, 2012 2:25 pm
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Re: France - One song per day.

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Page 36 Léonin - Viderunt Omnes - 1160 - Classical
Page 9 Adam De La Halle - Jeu de Robin et Marion - 1282 or 1283 - Classical
Page 23 Philippe De Vitry - In Arboris - 1320 - Classical
Page 25 Josquin des Prez - Ave Maria ... Virgo serena - 1485 - Classical
Page 27 Clément Janequin - Le chant des Oyseaulx - 1537 - Classical
Page 35 Nicolas Gombert - In Te Domine Speravi - Motet à six voix - 1539 - Classical
Page 16 Jean-Baptiste Lully - Marche pour la cérémonie des turcs - 1670 - Classical
Page 14 Marc-Antoine Charpentier - Te Deum - 1688/1698 - Classical
Page 29 Michel Richard Delalande - Simphonies pour le Soupers du Roy - Concert de trompettes - 1703 - Classical
Page 32 Jean-Philippe Rameau - Rondeau des Indes galantes (Les sauvages) - 1735 - Classical
Page 16 Claude Joseph Rouget De Lisle - Chant de Guerre pour l'Armée du Rhin ou La Marseillaise - 1792
Page 25 Hector Berlioz - Symphonie Fantastique - Marche au supplice - 1830 - Classical
Page 26 Unknown - Les anges dans nos campagnes - before 1846 - Classical
Page 11 Adolphe Adam - Minuit, chrétiens - 1847 - Classical
Page 33 Charles Gounoud - Ave Maria - 1853 - Classical
Page 5 Édouard-Léon Scott de Martinville - Au clair de la lune - First recorded song - 1860
Page 34 Jean-Romain Grosjean - Il est né le divin enfant - 1862
Page 1 Georges Bizet - Le pêcheur de perles - Je crois entendre encore - 1863 - Classical
Page 27 Jean-Baptiste Clément / Antoine Renard - Le temps des cerises - 1866
Page 30 Louis Théodore Gouvy - Requiem op.70 - 1874 - Classical
Page 4 Camille Saint-Saëns - Danse Macabre op 40 - 1874 - Classical
Page 20 Charles-Marie Widor - Symphonie pour orgue n°5 - Toccata - 1879 - Classical
Page 6 Gabriel Fauré - Élégie pour violoncelle et piano, op 24 - 1880 - Classical
Page 7 Jacques Offenbach - Les contes d'Hoffmann - Belle nuit, ô nuit d'amour - 1881 - Classical
Page 11 Léo Delibes - Lakmé - Duo des fleurs - 1883 - Classical
Page 19 Emmanuel Chabrier - España - 1883 - Classical
Page 30 Yvette Guilbert - Le fiacre - 1888
Page 3 Erik Satie - Gymnopédie n°3 - 1888 - Classical
Page 18 Vincent D'Indy - Tableaux de voyage op.33 - Le Glas - 1889 - Classical
Page 35 Erik Satie - Gnossienne n°1 - 1890 - Classical
Page 13 Ernest Chausson - Concert pour violon, piano et quatuor à cordes en Ré majeur op.21 - Sicilienne - 1892 - Classical
Page 37 Claude Debussy - Prélude à l'après-midi d'un faune - 1894 - Classical
Page 4 Paul Dukas - L'apprenti sorcier - 1897 - Classical
Page 34 Louis Vierne - Messe solennelle - 1900- Classical
Page 19 Mado Robin - Frou-Frou - 1897
Page 23 Félix Mayol - Viens, Poupoule ! - 1902
Page 28 Jules Massenet - Thaïs - Méditation - 1903 - Classical
Page 3 Claude Debussy - Suite Bergamasque - Clair de lune - 1905 - Classical
Page 28 Bach - La caissière du Grand Café - 1914
Page 13 Mistinguett - Mon Homme - 1916
Page 22 Lili Boulanger - Vieille prière bouddhique - 1917 - Classical
Page 10 Léo Daniderff - Je cherche après Titine - 1917
Page 31 Louis Lynel - Nuit de Chine - 1922
Page 22 Arthur Honegger - Pacific 231 - 1923 - Classical
Page 8 Darius Milhaud - La Création du monde op.81 - 1923 - Classical
Page 26 Charles Koechlin - Vers la voûte étoilée op. 129 - 1923-33 - Classical
Page 9 Berthe Sylva - Les roses blanches - 1925
Page 37 Yvonne George - J'ai pas su y faire ! - 1925
Page 17 Jean Cras - Journal de Bord - 1927 - Partie III : Quart de 4 à 8 - Classical
Page 2 Maurice Ravel - Boléro - 1928 - Classical
Page 25 Georges Milton - Pouet Pouet - 1929
Page 7 Joséphine Baker - J'ai deux amours - 1930 
Page 3 Lucienne Boyer - Parlez-moi d'amour - 1930
Page 14 Louis Lynel - Ma Normandie - 1930
Page 31 Henri Garat - Avoir un bon copain - 1931
Page 33 Reda Caire -Auprès de ma blonde - 1933
Page 23 Pauline Carton - Sous les palétuviers - 1934
Page 24 Damia - La guinguette a fermé ses volets - 1934
Page 1 Gaston Ouvrard - Je ne suis pas bien portant - 1934
Page 18 Alibert - Le plus beau tango du monde - 1935
Page 37 Raymond Ventura - Tout va très bien madame la marquise - 1935
Page 26 Marie Dubas - Le tango stupéfiant - 1936
Page 27 Jean Gabin - Quand on s'promène au bord de l'eau - 1936
Page 21 Henry Garat - C'est un mauvais garçon - 1936
Page 6 Olivier Messiaen - Fête des belles eaux - 1937 - Classical
Page 3 Django Reinhardt and Stéphane Grappelli - Minor Swing - 1937 - Jazz
Page 8 Ray Ventura - Qu'est-ce qu'on attend pour être heureux ? - 1937
Page 12 Fréhel - La Java Bleue - 1938
Page 26 Johnny Hess - Je suis swing - 1938 - Jazz
Page 18 Rina Ketty - J'attendrai - 1938
Page 2 Mireille et Jean Sablon - Puisque vous partez en voyage - 1938
Page 17 Fernandel - Félicie aussi ! - 1939
Page 35 Fréhel - La java bleue - 1939
Page 21 Jean Lumière - La valse au village - 1939
Page 31 Albert Préjean - Amusez-vous ! - 1939
Page 18 GusViseur - Flambée Montalbanaise - 1940 - Jazz
Page 34 Django Reinhart - Nuages - 1940 - Jazz
Page 14 Léo Marjane - Je suis seule ce soir - 1941
Page 12 Anna Marly - Le chant des partisans - 1941
Page 28 Marie Bizet - Rythme et swing - 1942
Page 3 Lucienne Delyle - Mon amant de Saint-Jean - 1942
Page 2 Charles Trenet - Que Reste-t'il de nos amours ? - 1942
Page 20 Lina Margy - Ah ! Le petit vin blanc - 1943
Page 12 Anna Marly - La complainte du partisan - 1943
Page 4 Yves Montand - Les Feuilles Mortes - 1945
Page 8 Luis Mariano - La Belle de Cadix - 1945
Page 29 Colette Mars - Le vent emporte ma chanson - 1946
Page 18 Tino Rossi - Petit papa Noël - 1946
Page 23 Fernand Sardou - Aujourd'hui peut-être - 1946
Page 35 Charles Trenet - La mer - 1946
Page 19 Henri Betti - C'est si bon - 1947
Page 29 Pierre Dudan - Clopin-Clopant - 1947
Page 14 Line Renaud - Ma cabane au Canada - 1947
Page 27 Jacqueline François - Mademoiselle de Paris - 1948
Page 24 Pierre Schaeffer - Cinq Etudes de bruits - 1948 - Classical & Electro
Page 12 Francis Lemarque - À Paris - 1949
Page 24 Francis Lemarque - Bal, petit bal - 1949
Page 33 Edith Piaf - Hymne à l'amour - 1949

Page 22 André Claveau - Domino - 1950
Page 3 Henri Salvador - Le loup, la biche et le chevalier (une chanson douce) - 1950
Page 11 Jean Bretonnière - Sous le ciel de Paris - 1951
Page 17 Mick Micheyl - Un gamin de Paris -1951
Page 25 Marcel Mouloudji - Comme un p'tit coquelicot - 1951
Page 1 Brassens & Patachou - Maman, papa - 1952
Page 14 Georges Guetary - La route Fleurie - 1952
Page 33 Georges Brassens - La marine - 1953
Page 7 Maurice Chevalier - Dans la vie faut pas s'en faire - 1953
Page 13 Alain Romans - Quel temps fait-il à Paris - 1953 - OST & Jazz
Page 30 Marcel Landowski - Concerto pour ondes Martenot orchestre à cordes et percussions - 1954 - Classical
Page 13 Cora Vaucaire - La Complainte de la Butte - 1955
Page 9 Boris Vian - Je Bois - 1955
Page 17 René-Louis Lafforgue - Le poseur de rails - 1956
Page 1 Magali Noël - Fais-moi mal, Johnny - 1956
Page 25 Léo Arnaud - Bugler's Dream - 1958 - Classical
Page 36 Bourvil - La ballade Irlandaise - 1958
Page 19 Guy Béart - L'eau vive - 1958
Page 15 Anny Flore - Julie la rousse - 1958
Page 7 Jacques Brel - Ne me quitte pas - 1959
Page 21 Philippe Clay - L'accordéon - 1959
Page 28 André Dassary - Adieu tristesse - 1959
Page 20 Roger Guérin - Discord - 1959 - Jazz
Page 22 Darío Moreno - Tout l'amour - 1959
Page 25 Georgette Plana - L'hirondelle du faubourg - 1959
Page 37 Simone Sandry - Les belles amourettes - 1959
Page 25 Michel Simon - Mémère - 1959

Page 1 Bourvil - C'était bien (au petit bal perdu) - 1960
Page 35 René Leibowitz - Marijuana, variations non sérieuses, Op. 54 - 1960 - Classical
Page 4 Juliette Gréco - Il n'y a plus d'après - 1960
Page 13 Gilian Hills - Zou bisou bisou - 1960
Page 23 André Hodeir - Jazz et Jazz - 1960 - Jazz
Page 6 Edith Piaf - Non, je ne regrette rien - 1960 
Page 29 Paul Blamar - Moin çé on maléré - 1961
Page 15 Les Double Six - Tickle Toe (Le racket et les balles) - 1961 - Jazz
Page 11 Zizi Jeanmaire - Mon truc en plumes - 1961
Page 14 Marcel Amont - Un Mexicain - 1962
Page 18 Isabelle Aubret - Un premier amour - 1962
Page 36 Gilbert Bécaud - Et maintenant - 1962
Page 24 Leny Escudero - Pour une amourette - 1962
Page 27 Les Fantômes - Cafards - 1962
Page 12 Maurice Jarre - Lawrence of Arabia - 1962 - OST
Page 19 Michel Magne - Mélodie en sous-sol - Palm Beach thème - 1962 - OST & Jazz
Page 35 Claude Nougaro - Le cinéma - 1962
Page 10 Francis Poulenc - Sonate pour clarinette, 2ème mouvement : Romanza - 1962 - Classical
Page 38 Henri Salvador - Syracuse - 1962
Page 4 Salvatore Adamo - Tombe la neige - 1963
Page 9 Alain Barrière - Elle était si jolie - 1963
Page 21 Patricia Carli - Demain, tu te maries - 1963
Page 6 Georges Delerue - Le Mépris - Camille - 1963 - OST
Page 24 Colette Dereal - La valse folle - 1963
Page 26 Alice Dona - C'est pas prudent - 1963
Page 22 Colette Magny - Melocoton - 1963
Page 20 Les Mustangs - Drums - 1963
Page 9 Claude Nougaro - Cécile ma fille - 1963 
Page 11 Colette Renard - Les nuits d'une demoiselle - 1963
Page 9 Sheila - L'école est finie - 1963 
Page 7 Soeur Sourire - Dominique - 1963
Page 23 Hélène April - Je m'ennuie - 1964
Page 34 Charles Aznavour - Hier encore - 1964
Page 2 Gilbert Bécaud - Nathalie - 1964
Page 33 Jacques Brel - Amsterdam - 1964
Page 20 Annie Cordy - Six roses - 1964
Page 12 Henri Dutilleux - Métaboles - 1964 - Classical
Page 4 Jean Ferrat - Que serais-je sans toi ? - 1964
Page 2 France Gall - Laisse tomber les filles - 1964
Page 32 Les Gam's - L'été reviendra - 1964
Page 34 Geneviève Grad - Douliou douliou Saint-Tropez - 1964
Page 36 Françoise Hardy - Mon amie la rose - 1964
Page 2 Françoise Hardy - La Nuit Est Sur La Ville - 1964
Page 34 Michel Legrand - Les parapluies de Cherbourg - Je ne pourrai jamais vivre sans toi - 1964 - OST
Page 30 Félix Marten - T'es moche - 1964
Page 3 Les Parisiennes - Il fait trop beau pour travailler - 1964
Page 25 Rachel - Le chant de mallory - 1964
Page 34 Sylvie Vartan - La plus belle pour aller danser - 1964
Page 29 François Deguelt - Le ciel, le soleil et la mer - 1965
Page 8 Antoine Duhamel - Pierrot Le Fou - Ferdinand - 1965 - OST
Page 22 Gribouille - Mathias - 1965
Page 19 Chantal Kelly - Mon ami, mon chien - 1965
Page 27 Marjorie Noël - Dans le même wagon - 1965
Page 10 Les Problèmes - Non, je ne vois rien - 1965
Page 15 Annie Philippe - Tout finit à St. Tropez - 1965
Page 4 Régine - Les P'tits papiers - 1965
Page 5 Hervé Vilard - Capri, c'est fini - 1965
Page 5 Antoine - Les élucubrations - 1966
Page 24 Adèle - Je ne veux plus d'accordéon - 1966
Page 8 Michèle Arnaud - les papillons Noirs - 1966
Page 4 Hugues Aufray - Céline - 1966
Page 25 Pierre Barouh - A l'ombre de nous - 1966
Page 26 Les Bowlers - Il est trop tard - 1966
Page 29 Cléo - Et moi, et toi, et soie - 1966
Page 5 Pascal Danel - Les neiges du Kilimanjaro - 1966
Page 15 Chantal Goya - Si tu gagnes au flipper - 1966
Page 9 Francis Lai - Un homme et une femme - 1966 - OST 
Page 10 Les 5 Gentlemen - Si tu reviens chez moi - 1966
Page 14 Les Pros - Drugstore Midnight - 1966
Page 15 Long Chris - Névralgie Particulière - 1966
Page 3 Mireille Mathieu - Paris en colère - 1966
Page 16 Gilbert Safrani - Les gens s'en vont dans le ciel - 1966
Page 24 Structures Sonores Lasry-Baschet - Manège - 1966 - Classical
Page 25 Les Troubadours - La ballade Polly Maggoo - 1966
Page 14 Zouzou - Il est parti comme il est venu - 1966
Page 10 Charles Aznavour - Emmenez-moi - 1967
Page 1 Brigitte Bardot - Harley Davidson - 1967
Page 22 Clothilde - Saperlipopette - 1967
Page 28 Évariste - Les pommes de lune - 1967
Page 35 Juliette Greco - Déshabillez-moi - 1967
Page 2 Pierre Henry - Psyché Rock - 1967 - Classical & Electro
Page 16 Marie Laforêt - Mon amour, mon ami - 1967
Page 14 Christie Laume - Rouge Rouge - 1967
Page 30 Michel Legrand - Les demoiselles de Rochefort - Thème d'Andy - 1967 - OST
Page 32 Charlotte Leslie - Les filles, c'est fait pour faire l'amour - 1967
Page 16 Christine Pilzer - Ah-Hem-Ho-Uh-Err - 1967
Page 21 Guy Skornik - Fire - 1967
Page 4 Stella - Si vous connaissez quelque-chose de pire qu'un vampire, parlez m'en toujours, ça pourra peut-être me faire sourire - 1967
Page 7 Jacqueline Taïeb - 7 heures du matin - 1967
Page 10 Dominique Walter - Les petits boudins - 1967
Page 28 Arlette Zola - Deux garçons pour une fille - 1967
Page 2 Barbara - Du bout des lèvres - 1968
Page 18 Barbara - Mon enfance - 1968
Page 23 Richard de Bordeaux & Daniel Beretta - La drogue - 1968
Page 33 Georges Chelon - Nous on s'aime - 1968
Page 1 Jacques Dutronc - Proverbes - 1968
Page 34 Jacques Dutronc - Il est cinq heures, Paris s'éveille - 1968
Page 37 Brigitte Fontaine - Il pleut - 1968
Page 4 Claude François - Comme d'habitude - 1968
Page 33 Serge Gainsbourg et Brigitte Bardot - Bonnie & Clyde - 1968
Page 35 Serge Gainsbourg - Requiem pour un con - 1968
Page 8 Les Goths - Turn Over - 1968
Page 18 Sophie Makhno - Obsessions 68 - 1968
Page 5 Jean-François Michael - Adieu, jolie Candy - 1968
Page 33 The piranha' sounds - La turbie piranhienne - 1968
Page 1 Michel Polnareff - Le bal des Laze - 1968
Page 21 Jean-Claude Risset - Computer suite for little boy - 1968 - Classical
Page 21 Victoire Scott - Quatrième Dimension - 1968
Page 18 Patrick Abrial - Fétiche - 1969
Page 18 Alec - L'étranger - 1969
Page 31 Les Apollos & la Danse Cosmique - Cosmonautic Blues - 1969
Page 13 Ronnie Bird - Sad Soul - 1969
Page 19 Jacques Charpentier - Pour le Kama Soutra - 1969 - Classical
Page 30 Le cœur - Un soleil assis dans la neige - 1969
Page 11 Pierre-Alain Dahan - Slowrama - 1969
Page 11 Mireille Darc - Hélicoptère - 1969
Page 20 Eric Demarsan - L'armée des ombres - Thème de Gerbier - 1969 - OST
Page 29 Dickens - Génocide - 1969
Page 19 Docdaïl - Aere Perennius - 1969
Page 31 Pierre Dutour - Tracking - 1969
Page 3 Serge Gainsbourg - Je t'aime... moi non plus ! - 1969
Page 32 Les Landles - Le monde est mort - 1969
Page 35 Boby Lapointe - Je suis né au Chili - 1969
Page 34 Jean-Pierre Lugan - Le petit proton soviétique - 1969
Page 19 Le Système Crapoutchik - L'horrible rêve - 1969
Page 22 Georges Garvarentz - Le temps des loups - OST - 1969
Page 6 Michel Legrand - Les moulins de mon coeur - 1969
Page 27 Michèle Mercier - Six-Huit - 1969
Page 9 Jean-Pierre Mirouze - Sexopolis - Thème - 1969 - OST
Page 4 Georges Moustaki - Le Métèque - 1969
Page 18 Jean-Claude Oliver - L'invité - 1969
Page 16 Roland Vincent - L.S.D. partie - 1969

Pagr 26 Ame Son - A coup de hache - 1970 - Jazz
Page 21 Jack Arel - Picture of Spring - 1970
Page 15 Baroque Jazz Trio - Zoma - 1970 - Jazz
Page 31 Big Jullien and His All Star - Wake the monster - 1970 -Jazz
Page 14 Claude Bolling - Borsalino - Thème - 1970 - OST
Page 7 François De Roubaix - Dernier Domicile Connu - 1970 - OST
Page 20 Jean-Pierre Ferland - Le chat du café des artistes - 1970
Page 37 Luc Ferrari - Presque rien n°1 (Le lever du jour au bord de la mer) - 1970 - Classical
Page 3 Jean-Jacques Perrey - E.V.A. - 1970 - Electro
Page 1 Boby Lapointe - Méli-Mélodie - 1970
Page 34 Philippe Sarde - Les choses de la vie - Thème - 1970 - OST
Page 32 Christine Sèvres - Tu es venu - 1970
Page 34 Stellius - What I'd like - 1970
Page 17 Triangle - Peut-être demain ? - 1970
Page 28 Michel Ypar - Encore - 1970
Page 9 Zanini - Tu veux ou tu veux pas ? - 1970
Page 27 Berenice - Alors Dieu châtia l'Homme - 1971
Page 3 Julien Clerc - Ce n'est rien - 1971
Page 8 Michel Delpech - Pour Un Flirt - 1971
Page 2 Léo Ferré - Avec le temps - 1971
Page 32 Léonie - En Alabama - 1971
Page 14 Danyel Gérard - Butterfly - 1971
Page 9 Les Poppys - Non, non, rien n'a changé - 1971
Page 23 Raymond Lefèvre - JO - Générique - 1971 - OST
Page 28 Gilbert Montagné - The Fool - 1971
Page 2 Nicoletta - Mamy Blue - 1971
Page 2 Michel Polnareff - Qui A Tué Grand' Maman - 1971
Page 22 Tac Poum Système - Asmodaï - 1971
Page 31 Yan Tregger - Sun Adoration - 1971
Page 36 Daniel Vangarde (Yamasuki) - AIEAOA - 1971
Page 23 Igor Wakhevitch - Materia Prima - 1971
Page 9 Dominique Blanc-Francard - Ailleurs/Icare - 1972
Page 20 Charles Dumont - Comme une fugue de Bach - 1972
Page 6 Michel Fugain - Une belle histoire - 1972
Page The Moving Gelatine Plates - The world of genius Hans – 1972
Page 31 Jane et Julie - Notre homme à moi - 1972
Page 3 Maxime Le Forestier - San Fransisco - 1972
Page 27 Philippe Nicaud - C'ex - 1972
Page 3 Les variations - Je suis juste un rock'n'roller - 1972
Page 20 Catherine Ribeiro + Alpes - Paix - 1972
Page 13 Véronique Sanson - Amoureuse - 1972 
Page 36 Véronique Sanson - Besoin de personne - 1972
Page 22 Ann Sorel - L'amour à plusieurs - 1972
Page 3 Jean-Claude Vannier - Les gardes volent au secours du roi - 1972
Page 8 Philippe Besombes - La ville - 1973
Page 17 Vladimir Cosma - L'Affaire Crazy Capo - 1973 - OST
Page 7 Diane Dufresne - J'ai Rencontré L'homme De Ma Vie - 1973
Page 25 Les Frères Jacques - La confiture - 1973
Page 2 Alain Goraguer - La Planète Sauvage - 1973 - OST & Electro
Page 22 Pierre Groscolas - Lady Lay - 1973
Page 14 Lafayette Afro Rock Band - Hihache - 1973
Page 15 Serge Lama - Je suis malade - 1973
Page 2 Magma - Mekanïk Destruktïw Kommandöh - 1973/1989
Page 24 Tonio Rubio - Bass in action n°2 - 1973
Page 13 Stone et Charden - Made in Normandie - 1973
Page 11 The Peppers - Pepper Box - 1973 - Electro
Page 37 Pierre Bachelet - Emmanuelle - 1974 - OST
Page 37 Ange - Exode - 1974
Page 6 Areski Belkacem - C'est normal - 1974
Page 35 Bimbo Jet - El Bimbo - 1974
Page 2 Christophe - Les Mots Bleus - 1974 
Page 24 Marcel Dadi - Le derviche tourneur - 1974
Page 3 Dalida - Il venait d'avoir 18 ans - 1974
Page 26 Bernard Estardy - Gang Train - 1974
Page 1 Nino Ferrer - Le sud - 1974
Page 3 Daniel Guichard - Mon vieux - 1974
Page 20 Jean-Claude Pelletier - Hello Streakers! - 1974
Page 33 Atoll - L'araignée-Mal - 1975
Page 20 Joe Dassin - L'été indien - 1975
Page 18 Cortex - La rue - 1975 - Jazz
Page 36 Bernard Fèvre - Molecule Dance - 1975 - Electro
Page 17 Gérard Grisey - Partiels - 1975 - Classical
Page 18 Harlem pop Trotters - Penwick - 1975
Page 20 Il était une fois - J'ai encore rêvé d'elle - 1975
Page 29 Teddy Lasry - Los Angeles - 1975
Page 13 Gérard Lenorman - La Ballade des gens heureux - 1975
Page 3 Gérard Manset - Il voyage en solitaire - 1975
Page 1 Jeanne Moreau - India Song - 1975
Page 11 Janko Nilovic - Drug Song - 1975
Page 36 Nicolas Peyrac - So far away from L.A. - 1975
Page 35 Nicolas Peyrac - Et mon père - 1975
Page 20 Pulsar - Pollen - 1975 - Electro
Page 8 Resonance - OK Chicago - 1975
Page 6 Jean Yanne - Chobizeness - Coït - 1975 - OST
Page 3 Jane Birkin - Ballade de Johnny Jane - 1976
Page 32 Cerrone - Love in C Minor - 1976
Page 24 Richard Clayderman - Ballade Pour Adeline - 1976
Page 4 Jean-Michel Jarre - Oxygène Part IV - 1976 - Electro
Page 16 Michel Colombier - L'Alpagueur - Main Theme - 1976 - OST
Page 30 Dick Rivers - Faire un pont - 1976
Page 3 Philippe Sarde - Le locataire - Main theme - 1976 - OST
Page 13 The Droids - The Force - 1976 - Electro
Page 10 Wapassou - Messe en ré mineur - 1976
Page 23 Cerrone - Supernature - 1977
Page 6 Philippe Chatel - J't'aime bien Lili - 1977
Page 12 Yves Duteil - Prendre un enfant - 1977
Page 7 Little Bob Story - Riot in Toulouse - 1977
Page 28 Moon Birds - Cristal N°3 - 1977
Page 5 Marie Myriam - L'enfant et l'oiseau - 1977
Page 7 Plastic Bertrand - Ça plane pour moi - 1977
Page 9 Jean-Luc Ponty - Mirage - 1977 - Jazz
Page 11 Zachary Richard - Travailler, c'est trop dur - 1977
Page 23 Yves Simon - Diabolo Menthe - 1977
Page 3 SpAce - Magic Fly - 1977 - Electro
Page 9 Space Art - Onyx - 1977 - Electro
Page 16 A 3 Dans les WC - Contagion - 1978
Page 15 Black Devil - H-Friend - 1978 - Electro
Page 31 Bulldozer - J'suis punk - 1978
Page 12 Louis Chédid - T'as beau pas être beau - 1978
Page 36 Claude François - Alexandrie Alexandre - 1978
Page 37 Jean-Michel Jarre - Equinoxe 5 - 1978 - Electronique
Page 36 Mama Béa Tekieelski - Ballade pour un bébé robot - 1978
Page 16 Marie et les Garçons - Re-Bop - 1978
Page 8 Métal Urbain - Paris Maquis - 1978
Page 12 Michel Sardou - Je vole - 1978
Page 28 Richard Vimal - Migrations - 1978
Page 30 Jean-Pierre Alarcen - Premier mouvement - 1979
Page 13 Cabrel - Je l'aime à mourir - 1979
Page 5 Jean-Patrick Capdevielle - Quand t'es dans le désert - 1979
Page 21 Eric Charden - L'été sera chaud - 1979
Page 16 Joël Fajerman - Flowers Love - 1979 - Electro & OST
Page 31 Philippe Guerre - Marche Blues - 1979 - Electro
Page 5 Patrick Hernandez - Born to be alive - 1979
Page 11 Jacques Higelin - Champagne - 1979
Page 29 Lio - Le Banana Split - 1979
Page 18 Lizzy Mercier Descloux - Fire - 1979
Page 25 Les Olivensteins - Euthanasie - 1979
Page 12 Jacques Loussier - Pulsion - 1979 - Jazz
Page 31 Chris O'Hara - Sur les coussins de la discothèque - 1979
Page 1 Pierre Perret - Mon P'tit Loup - 1979
Page 31 Sheila B. Devotion - Spacer - 1979
Page 16 Stinky Toys - Birthday Party - 1979

Page 18 Abus Dangereux - Le Roy est Mort, Vive le Roy - 1980
Page 24 Cha Cha Guitri - 1981
Page 10 Elli & Jacno - Main dans la main - 1980
Page 31 Eskaton - Dagon - 1980
Page 6 Le Grand Orchestre du Splendid - La Salsa du démon - 1980
Page 8 Mathématiques Modernes - Disco Rough - 1980
Page 9 Modern Guy - Electrique Sylvie - 1980
Page 15 Tristan Murail - Gondwana - 1980 - Classical & Electro
Page 34 Nini Raviolette - Suis-je normale ? - 1980
Page 12 Ottawan - T'es OK - 1980
Page 15 Suicide Roméo - Suicide Roméo - 1980
Page 1 Taxi Girl - Cherchez le garçon - 1980
Page 2 Trust - Antisocial - 1980
Page 18 Pierre Boulez - Répons - 1981 - Classical & Electro
Page 22 Comix - Touche pas mon sexe - 1981
Page 5 Patrick Coutin - J'aime regarder les filles - 1981
Page 2 Charlélie Couture - Comme un avion sans aile - 1981
Page 31 Charles de Goal - Exposition - 1981
Page 5 Hervé Cristiani - Il est libre Max - 1981 
Page 17 Guerre Froide - Demain Berlin - 1981
Page 15 La Souris Déglinguée - Rock'N'Roll Vengance - 1981
Page 4 Marquis de Sade - Wanda's Loving Boy - 1981
Page 2 Renaud - Manu - 1981
Page 37 Michel Sardou - Les lacs du Connemara - 1981
Page 5 Jean Schultheis - Confidence pour confidence - 1981
Page 29 TGV - T.G.V. (Très Grande Vitesse) Partie 1 - 1981
Page 22 Ti Céleste - Testaman - 1981
Page 5 Chagrin d'Amour - Chacun fait c'qui lui plaît - 1982
Page 8 Gérard Blanchard - Rockamadour - 1982
Page 32 Renaud Gagneux - Requiem - Introitus et Kyrie - 1982 - Classical
Page 21 Ici Paris - Allo le monde... - 1982
Page 11 Kas Product - Never Come Back - 1982
Page 17 Les Forbans - Chante - 1982
Page 1 Richard Gotainer - La ballade de l'obsédé - 1982
Page 3 Indochine - L'aventurier - 1982
Page 32 Guy Marchand - Destinée - 1982
Page 16 Act. - Ping pong - 1983
Page 6 Isabelle Adjani - Pull Marine - 1983 
Page 13 Axel Bauer - Cargo - 1983
Page 36 Michel Berger - Diego, libre dans sa tête - 1983
Page 30 Deux - Game and performance - 1983
Page 31 Catherine Lara - Le rockeuse de diamants - 1983
Page 24 Malavoi - Caressé mwen - 1983
Page 17 Jakie Quartz - Mise au point - 1983
Page 28 Regrets - Je ne veux pas rentrer chez moi seule - 1983
Page 36 Guy Reibel - Suite pour Edgar Poe - 1983 - Classical
Page 24 François Tusques - Le Musichien - 1983 - Jazz
Page 30 Complot Bronswick - I know The Power of words - 1984
Page 27 Die Form - Masochist - 1984
Page 25 Cookie Dingler - Femme libérée - 1984
Page 13 Martin Dupont - Just Because - 1984
Page 27 Ice - La grande guerre - 1984
Page 29 Moon Ray - Comanchero - 1984
Page 9 Paul Personne - Barjoland - 1984
Page 34 Les Rita Mitsouko - Marcia Baila - 1984
Page 17 Téléphone - Un autre monde - 1984
Page 18 Daniel Balavoine - Tous les cris, les S.O.S. - 1985
Page 3 Bérurier Noir - Le renard - 1985
Page 5 Bibie - Tout doucement - 1985
Page 26 Etienne Daho - Tombé pour la France - 1985
Page 3 Jean-Jacques Goldman - Je te donne - 1985
Page 31 Johnny Hallyday - Quelque chose de Tennessee - 1985
Page 19 Les Visiteurs Du Soir - Je t'écris d'un pays - 1985
Page 3 Michel Jonasz - La boîte de Jazz - 1985
Page 16 Marc Lavoine - Les yeux revolver - 1985
Page 12 Message - Dernière nuit - 1985
Page 21 Partenaire Particulier - Partenaire Particulier - 1985
Page 32 Renaud - Mistral Gagnant - 1985
Page 10 Ruth - Polaroïd/Roman/Photo - 1985
Page 14 Marc Seberg - L'éclaircie - 1985
Page 23 Laurent Voulzy - Belle-Île-en-Mer, Marie-Galante - 1985
Page 14 Buzy - Body Physical - 1986
Page 31 Corynne Charby - Boule de flipper - 1986
Page 36 L'enfance Eternelle - Violet Winter - 1986
Page 37 Ettika - Ettika - 1986
Page 22 Gold - Ville de lumière - 1986
Page 29 Allain Leprest - Y'a rien qui s'passe - 1986
Page 26 License IV - Viens boire un p'tit coup à la maison - 1986
Page 5 Caroline Loeb - C'est la Ouate - 1986
Page 37 Jeanne Mas - En rouge et noir - 1986
Page 30 Sabine Paturel - Les bêtises - 1986
Page 13 Jean-Claude Petit - Jean de Florette - Theme - 1986 - OST
Page 12 Julie Pietri - Ève lève-toi - 1986
Page 35 Pijon - Cache cache party - 1986
Page 7 Stephanie de Monaco - Ouragan - 1986
Page 2 Mylène Farmer - Libertine - 1986
Page 4 La Compagnie Créole - Ca fait rire les oiseaux - 1986
Page 19 Francis Lalanne - On se retrouvera - 1986
Page 19 Les Ablettes - Jackie s'en fout - 1986
Page 10 Images - Les démons de minuit - 1986
Page 6 Elli Medeiros - Toi mon toit - 1986
Page 28 Ludwig Von 88 - Bière et punk - 1986
Page 14 Parabellum - Cayenne - 1986
Page 35 Philippe Russo - Magie noire - 1986
Page 25 Trisomie 21 - The last song - 1986
Page 20 Arnold Turboust - Adelaïde - 1986
Page 19 À Caus' des Garçons - À Cause des Garçons - 1987
Page 17 Anyway - Face au monde - 1987
Page 26 Art Zoyd - Baboon's Blood - 1987
Page 4 Jean-Louis Aubert - Les plages - 1987
Page 16 Louis Bertignac - Ces idées-là - 1987
Page 5 Desireless - Voyage Voyage - 1987
Page 37 Martin Dupont - Inside Out - 1987
Page 36 Mylène Farmer - Sans contrefaçon - 1987
Page 31 France Gall - Ella, elle l'a - 1987
Page 33 Jean-Jacques Goldman - Là-bas - 1987
Page 9 Patricia Kaas - Mademoiselle chante le blues - 1987
Page 20 Les Calamités - Vélomoteur - 1987
Page 16 Eddy Louiss - Blues for Klook - 1987 - Jazz
Page 20 Eric Morena - Oh ! Mon bateau - 1987
Page 37 Vanessa Paradis - Joe le taxi - 1987
Page 4 Guesch Patti - Etienne - 1987
Page 23 Michel Portal - Mozambic - 1987 - Jazz
Page 33 Raft - Yaka Dansé - 1987
Page 16 Début de Soirée - Nuit de folie - 1988
Page 35 Dédé Saint-Prix - Mi sé sa - 1988
Page 34 Richard Desjardins - Les Yankees - 1988
Page 9 Les Garçons Bouchers - Carnivore - 1988
Page 12 Gipsy King - Djobi Djoba - 1988
Page 35 Jacques Higelin - Tombé du ciel - 1988
Page 28 Véronique Jannot - Aviateurs - 1988
Page 3 Bernard Lavilliers - On The Road Again - 1988
Page 12 Lightwave - Le Parvis - 1988 - Electro
Page 22 Mano Negra - Mala Vida - 1988
Page 1 Les Négresses Vertes - Voilà L'été - 1988 
Page 13 Norma Loy - Power of spirit - 1988
Page 6 Princess Erika - Trop de Bla-bla - 1988
Page 11 Eric Serra - Le grand bleu - Theme - 1988 - OST
Page 24 Soldat Louis - Du rhum, des femmes - 1988
Page 36 Alain Souchon - Quand je serai K.O. - 1988
Page 23 Tristan - Bonne bonne humeur ce matin - 1988
Page 21 Dominic Sonic - When My Tears Run Cold - 1989
Page 15 Jad Wio - Ophélie - 1989
Page 23 Maurane - Toutes les mamas - 1989
Page 1 Richard Gotainer - Le Combat De Rock - 1989 
Page 3 Zouk Machine - Maldòn (La musique dans la peau) - 1989

Page 21 Michel Berger - Le paradis blanc - 1990
Page 18 Elmer Food Beat - Daniela - 1990
Page 35 Jane Birkin - Love Fifteen - 1990
Page 7 Pauline Ester - Oui, je l'adore - 1990
Page 12 Liane Foly - Au fur et à mesure - 1990
Page 34 Les Freluquets - La débauche - 1990
Page 5 Thierry Hazard - Le Jerk - 1990
Page 24 Little Nemo - L'heure d'hiver - 1990
Page 2 Niagara - J'ai Vu - 1990
Page 18 Vanessa Paradis - Tandem - 1990
Page 1 Pigalle - Dans la salle du bar tabac de la rue des Martyrs - 1990
Page 17 Diane Tell - La légende de jimmy - 1990
Page 19 Joëlle Ursull - White & Black Blues - 1990
Page 25 Les Wampas - Petite fille - 1990
Page 22 Assassin - Esclave de votre société - 1991
Page 4 Au P'tit Bonheur - J'Veux du Soleil - 1991
Page 19 Dany Brillant - Suzette - 1991
Page 27 Jil Caplan - Tout c'qui nous sépare - 1991
Page 9 Fédération Française de Funk - New Funk Génération - 1991
Page 24 Kent - Tous les mômes - 1991
Page 6 Les Inconnus - Auteuil, Neuilly, Passy - 1991
Page 14 Jean-Louis Murat - Col de la Croix-Morand - 1991
Page 1 Les Rita Mitsouko - Les Amants - 1991
Page 34 Yannick Noah - Saga Africa - 1991
Page 21 Peter Kitsch - Come On sur mon scoot - 1991
Page 30 Les Rats - Je m'emmerde - 1991
Page 2 William Sheller - un Homme Heureux - 1991
Page 2 Mc Solaar - Bouge de là ! - 1991
Page 28 Caline Georgette - On danse - 1992
Page 18 Deep Forest - Sweet Lullaby - 1992
Page 34 Noir Désir - Tostaky (Le continent) - 1992
Page 10 Les innocents - L'autre Finistère - 1992
Page 10 Pow Wow - Le Chat - 1992
Page 19 Regg'Lyss - Mets de l'huile - 1992
Page 27 Les VRP - Aujourd'hui, c'est dimanche - 1992
Page 2 L'affaire Louis Trio - Mobilis In Mobile - 1993 
Page 31 Âme strong S.A. - Tout est bleu - 1993 - Electro
Page 13 Billy Ze Kick - Mangez-moi ! Mangez-moi ! - 1993
Page 17 Alain Chamfort - L'ennemi dans la glace - 1993
Page 23 Pascal Comelade - Promenade des Schizophrenes - 1993
Page 24 Enzo Enzo - Juste quelqu'un de bien - 1993
Page 33 Loudblast - Cross the Threshold - 1993
Page 17 Axelle Red - Sensualité - 1993
Page 2 Alain Souchon - Foule Sentimentale - 1993 
Page 10 Les Thugs - As happy as possible - 1993
Page 7 Pierre Vassiliu - La vie ça va - 1993
Page 33 Alai Bashung - Ma petite entreprise - 1994
Page 13 Daran et les chaises - Dormir dehors - 1994
Page 7 Gérald De Palmas - Sur La Route - 1994
Page 2 IAM - Le Mia - 1994
Page 20 Lynda Lemay - Le plus fort, c'est mon père - 1994
Page 15 Ministère A.M.E.R. - Plus vite que les balles - 1994
Page 15 Alliance Ethnik - Respect - 1995
Page 29 Arno - Les yeux de ma mère - 1995
Page 26 Blankass - La couleur des blés - 1995
Page 4 Dominique A - Le Twenty-Two bar - 1995
Page 24 Miossec - Non non non non - 1995
Page 21 Mütiilation - Born Under the Master’s Spell - 1995
Page 11 Kat Onoma - La Chambre - 1995
Page 26 Silmarils - Cours vite ! - 1995
Page 2 Suprême NTM - Paris sous les bombes - 1995 
Page 30 Blaszcyk et Les Electrolux - Pour vous Madame - 1996
Page 13 Diabologum - La Maman et la Putain - 1996
Page 5 Dimitri from Paris - Sacré Français - 1996 - Electro
Page 6 Doc Gynéco - Nirvana - 1996
Page 33 G-Squad - Aucune fille au monde - 1996
Page 4 Juliette - Rimes Féminines - 1996
Page 6 Khaled - Aïcha - 1996
Page 8 Valérie Lemercier - Goûte mes frites - 1996
Page 20 Philippe Léotard - Lonesome Piéton - 1996
Page 30 Nuttea - La weed brûle - 1996
Page 29 Manu le Malin - An old dream - 1996 - Electro
Page 14 Motorbass - Flying Fingers - 1996
Page 32 Sloy - Idolize - 1996
Page 3 Yann Tiersen - J'suis jamais allé - 1996
Page 17 Tonton David - Chacun sa route - 1996
Page 8 Ophélie Winter - Dieu m'a donné la foi - 1996
Page 25 Gabriel Yared - The English Patient - Theme - 1996 - OST
Page 3 Daft Punk - Around The World - 1997 - Electro
Page 35 Daft Punk - Da Funk - 1997 - Electro
Page 21 Dolly - Je n'veux pas rester sage - 1997
Page 6 Era - Ameno - 1997
Page 21 Faudel - Tellement je t'aime - 1997
Page 12 Laurent Garnier - Crispy Bacon - 1997 - Electro
Page 37 IAM - Petit frère - 1997
Page 10 La Tordue - lola - 1997
Page 20 Les Ogres de Barback - Rue de Panam - 1997
Page 1 Louise Attaque - J't'emmène au vent - 1997
Page 16 Massilia Sound System - Brûle ces papiers - 1997
Page 16 Ménélik - Je me souviens - 1997
Page 19 No One Is Innocent - Nomenklatura - 1997
Page 10 Florent Pagny - Savoir aimer - 1997
Page 17 Rachid Taha - Ya Rayah - 1997
Page 12 Air - Sexy Boy - 1998 - Electro
Page 10 René Aubry - La Grande Cascade - 1998 - Classical
Page 25 Autour de Lucie - Sur tes pas - 1998
Page 5 Alain Bashung - La nuit je mens - 1998
Page 36 Richard Cocciante/Patrick Fiori, Daniel Lavoie and Garou - Belle - Notre-Dame de Paris - 1998
Page 29 Marc Collin - Les Kid Nappeurs - Thème principal - 1998- OST
Page 27 Francis Dhomont - Je te salue, vieil océan ! - 1998 - Classical & Electronic
Page 37 Lara Fabian - Je t'aime - 1998
Page 8 Alex Gopher - The Child - 1998 - Electro
Page 10 Idéal J - Hardcore - 1998
Page 23 Manau - La tribu de Dana - 1998
Page 16 Matmatah - Lambé An Dro - 1998
Page 22 Roudoudou - Peace and Tranquility to Earth - 1998 - Electro
Page 23 Sinclair - Si c'est bon comme ça - 1998
Page 5 Stardust - Music Sounds Better with You - 1998 - Electro
Page 34 Suprême NTM - Ma Benz - 1998
Page 32 Tryo - L'hymne de nos campagnes - 1998
Page 5 Zebda - Tomber le chemise - 1998
Page 37 Cassius - Cassius 1999 - 1999 - Electro
Page 32 Etienne Charry - Par ici la monnaie - 1999
Page 8 Thomas Fersen - La Chauve-Souris - 1999
Page 20 Laidy Laistee - Et si... ? - 1999
Page 15 Larusso - Tu m'oublieras - 1999
Page 13 Lofofora - Les Gens - 1999
Page 35 -M- - Onde sensuelle - 1999
Page 25 Mass Hysteria - Contraddiction - 1999
Page 6 Mr Oizo - Flat Beat - 1999 - Electro
Page 7 Michel Petrucciani - Brazilian Like - 1999 - Jazz
Page 10 Saïan Supa Crew - Angela - 1999
Page 29 Damien Saez - Jeune et con - 1999
Page 37 Patrick Sébastien - Le petit bonhomme en mousse - 1999
Page 22 Hélène Ségara - Il y a trop de gens qui t'aiment - 1999
Page 33 Svinkels - Réveille le punk - 1999
Page 12 Tahiti 80 - Heartbeat - 1999
Page 15 Erik Truffaz - Siegfried - 1999 - Jazz

Page 6 Alizée - Moi... Lolita - 2000
Page 23 Françoiz Breut - Si tu disais - 2000
Page 30 Grand Popo Football Club - Les hommes, c'est pas des mecs bien ! - 2000 - Electro
Page 20 Michel Houellebecq - Célibataires - 2000
Page 37 Java - Sex, accordéon et alcool - 2000
Page 10 Mirways - Naïve Song - 2000 - Electro
Page 17 Modjo - Lady (Hear me tonight) - 2000 - Electro
Page 11 Nèg' Marrons - Le bilan - 2000
Page 15 Paris Combo - Living Room - 2000
Page 18 Pierpoljak - Maman - 2000
Page 14 St Germain - Rose rouge - 2000 - Electro & Jazz
Page 30 Carnival in Coal - Don't be happy, worry - 2001
Page 32 Le pélican frisé - Les cervelles sont cuites - 2001
Page 2 Etienne Daho et Dani - Comme un Boomerang - 2001
Page 6 Expérience - Aujourd'hui, maintenant - 2001
Page 1 Brigitte Fontaine et Noir Désir - Bis Baby Boum Boum - 2001
Page 13 Gotan Project - Santa Maria - 2001 - Electro
Page 28 Manu Chao - Me gustas tu - 2001
Page 1 Noir Désir - Le vent nous portera - 2001
Page 20 The Supermen Lovers - Starlight - 2001 - Electro
Page 1 Hubert-Félix Thiéfaine - Guichet 102 - 2001
Page 33 Corneille - Parce qu'on vient de loin - 2002
Page 14 Eiffel - Tu vois loin - 2002
Page 2 Johnny Hallyday - Marie ! - 2002
Page 8 Le Peuple de l'Herbe - No Escape - 2002
Page 21 One T - The Magic Key - 2002
Page 10 Sanseverino - Mal ô mains - 2002
Page 4 A.S. Dragon - Dirty - 2003
Page 24 Stéphane Belmondo - Notre Père -2003 - Jazz
Page 12 Carla Bruni - Quelqu'un m'a dit - 2003
Page 18 Alexandre Desplat - Girl with a pearl earring - Griet's Theme - 2003 - OST
Page 8 Christophe Héral - Hyllian Suite - 2003 - VGST
Page 12 La Grande Sophie - Devenir grand (On savait) - 2003
Page 16 Les Fatals Picards - Goldorak est mort - 2003
Page 2 M - Qui de nous deux ? - 2003
Page 24 Mc Jean-Gab'1 - Donjon - 2003
Page 5 Mickey 3D - Respire - 2003
Page 5 Tété - A la faveur de l'automne - 2003
Page 6 Keren Ann - La forme et le fond - 2004
Page 30 Amel Bent - Ma philosophie - 2004
Page 23 Anorexia Nervosa - Sister September - 2004
Page 15 Bruno Coulais - Les Choristes - Vois sur ton chemin - 2004 - OST
Page 27 Daniel Darc - Je me souviens, je me rappelle - 2004
Page 9 Vincent Delerm - Fanny Ardant et Moi - 2004
Page 27 David Lafore - Un baiser, une bombe - 2004
Page 28 Kool Shen - Un ange dans le ciel - 2004
Page 11 La Rue Kétanou - Les hommes que j'aime - 2004
Page 24 Luke - La sentinelle - 2004
Page 17 Passi - Face à la mer (feat Calogero) - 2004
Page 12 Sinsémilia - Tout le bonheur du monde - 2004
Page 34 Uncommonmenfrommars - You can be evil - 2004
Page 15 Bénabar - Le Dîner - 2005
Pgae 29 Mathieu Boogaerts - Une bonne nouvelle - 2005
Page 3 Camille - Ta Douleur - 2005
Page 25 Clarika - Ne me demande pas - 2005
Page 25 Hocus Pocus - Hip-Hop ? - 2005
Page 22 Justin(e) - Parle moi - 2005
Page 33 L'Oeuf Raide - Stange 50's - 2005 - Electro
Page 4 Philippe Katerine - Louxor J'adore - 2005
Page 10 Raphaël - Caravane - 2005
Page 6 Olivia Ruiz - J'traîne des pieds - 2005
Page 26 Smooth - Smooth - 2005 - Electro
Page Martin Solveig - Rejection - 2005 - Electro
Page 13 Ulan Bator - Pensées Massacre - 2005
Page 14 Vitalic - My friend Dario - 2005 - Electro
Page 19 Wax Tailor - Our Dance - 2005 - Electro
Page 7 AaRON - U Turn (Lili) - 2006
Page 23 Babx - Crack Maniac - 2006
Page 17 Bob Sinclar - Rock this party (Everybody dance now) - 2006 - Electro
Page 9 Jeanne Cherhal - Voilà - 2006
Page 20 Debout sur le zinc - La déclaration - 2006
Page 30 Diam's - La boulette - 2006
Page 15 Dj Mehdi - Signatune - 2006 - Electro
Page 16 Richard Galliano - Tango pour Claude - 2006 - Jazz
Page 14 Pierre Guimard - Stéphanie - 2006
Page 21 I Love UFO - Like In The Movies - 2006
Page 5 Kamini - Marly-Gomont - 2006
Page 12 Kaolin - Partons vite - 2006
Page 29 Emily Loizeau - Je suis jalouse - 2006
Page 22 Les Shades - Electrique - 2006
Page 5 Renan Luce - La lettre - 2006
Page 9 Mademoiselle K - Ça me vexe - 2006
Page 32 Para One - Dudun dun - 2006 - Electro
Page 25 Adrienne Pauly - J'veux un mec - 2006
Page 13 Rinôçérôse - Cubicle - 2006
Page 3 Emilie Simon - Le vieil amant - 2006 - Electro
Page 13 Cocoon - On my way - 2007
Page 22 Pauline Croze - Baiser d'adieu - 2007
Page 33 Dionysos - Le jour le plus froid du monde - 2007
Page 19 Fatal Bazooka - J'aime trop ton boule - 2007
Page 34 Fatal Bazooka - Fous ta cagoule - 2007
Page 11 Jil Is Lucky - The Wanderer - 2007
Page 14 Moriarty - Jimmy - 2007
Page 11 Naast - Mauvais Garçon - 2007
Page 33 Panda Dub - Rastamachine - 2007 - Electro
Page 17 Ultra Orange & Emmanuelle - Sing Sing - 2007
Page 28 Les Ramoneurs de menhirs - Dañs Gwadek 1 - 2007
Page 21 Yelle - Ce jeu - 2007
Page 37 Blackrain - Innocent Rosie - 2008
Page 22 DiscoBitch - C'est beau la bourgeoisie - 2008 - Electro
Page 7 Julien Doré - Les limites - 2008
Page 3 EZ3kiel - Adamantium - 2008 - Electro
Page 16 Grand Corps Malade - Je viens de là - 2008
Page 37 Sébastien Tellier - Roche - 2008
Page 1 Anaïs - Mon coeur, mon amour - 2009
Page 2 Benjamin Biolay - Brandt Rhapsodie - 2009
Page 1 BB Brunes - Lalalove you - 2009
Page 21 Birdy Nam Nam - The Parachute Ending - 2009 - Electro
Page 10 Chapelier Fou - Darling, Darling, Darling - 2009 - Electro
Page 7 Coeur de Pirate - Comme des enfants - 2009
Page 11 Diving With Andy - Sugar Sugar - 2009
Page 15 Magnetix - Mort Clinique - 2009
Page 19 Daniel Mille - Fin d'été - 2009 - Jazz
Page 26 The Parisians - Time for nothing more - 2009
Page 30 Phoenix - Lisztomania - 2009
Page 8 Plastiscines - Barcelona - 2009
Page 8 Pony Pony Run Run - Hey You - 2009
Page 7 Oxmo Puccino - Soleil du Nord - 2009
Page 27 PZK - Les filles adorent - 2009
Page 19 Yodelice - Sunday with a flu - 2009

Page 5 Ben L'Oncle Soul - Soulman - 2010
Page 31 Breakbot - Baby I'm yours - 2010 - Electro
Page 11 Cassius - I love you so - 2010 - Electro
Page 32 Les Ennuis Commencent - La belle saison - 2010
Page 8 Arnaud Fleurent-Didier - France Culture - 2010
Page 12 Camélia Jordana - Calamity Jane - 2010
Page 4 Kavinsky - Nightcall - 2010 - Electro
Page 36 Murmuüre - Murmuüre - 2010
Page 14 Al'Tarba - Pain Killers - 2011
Page 4 Arthur H - Cheval de Feu - 2011
Page Nina Attal - Run Away - 2011 - Jazz
Page 22 Ludovic Bource - The Artist - Main Theme - 2011 - OST
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Romain
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Re: France - One song per day.

Post by Romain »

AqME - Karma & Nicotine - 2007
Alternative Metal, Nu Metal, Alternative Rock

Album: Hérésie ( RYM: 3/5)

Wikipédia:
Aqme (stylized as AqME, previously known as Neurosyndrom) is a French heavy metal band originating from Paris, consisting of four members. The band was part of a French nu metal movement called "Team Nowhere", but they eventually split up with the Team in order to have more independence.

Aqme was created in the end of 1999 after the break-up of Neurosyndrom, which were one of the founding bands of the music collective Team Nowhere. The band name is inspired from the Ancient Greek word "akmê" meaning the climax or turning point of something. At the time of its formation, Aqme's line-up was composed of ETN (Étienne) on drums, Ben (Benjamin) on guitar, Sofy (Sophie) on bass (who will later be replaced by Charlotte), and Koma (Thomas) on vocals. Six months after the formation of the band, the quartet released a five track demo known as "University Of Nowhere". It is at this period, when the band started appearing in several compilations, that Sofy left the band. She was then replaced by Charlotte. They reissue 2000 copies of University of Nowhere on April 2001.
Not very satisfied of their previous releases, the band decided to work in studio during a year in order to create their first album. They went to record in Sweden with the Swedish producer Daniel Bergstrand, who is known for working with Meshuggah, In Flames, and Misery Loves Co. The band then came back to France and played in concerts with other French bands such as Unfold and Mass Hysteria. The band's new songs attracted more people to the concerts and the band eventually had a larger audience.[citation needed]

Aqme's critical acclaim occurred after the release of their first album, Sombre Efforts (French for "Dark Efforts"). They went on a relatively big tour across France between September 2002 and October 2003, with a notable success at the Eurockéennes de Belfort. At the end of 2003, the Parisian band went back to studio recording in order to make their second album, Polaroïds & Pornographie (French for "Polaroids & Pornography"). AqME publicly announces his departure from the Team Nowhere on 2004, the 12th of September.

After extensive touring, the band started recording their third album, this time without Daniel Bergstrand. They chose Steve Prestage as a producer and stayed in Paris for recording. The album was released in October 2005, under the name La Fin des Temps (French for "The End of Times"), and Pas assez loin was even played on the radio. This third album had more prominent guitar parts but still continued to be playable live. The lyrics centered around different topics such as euthanasia (Ainsi soit-il), apprehension of death (La Belle Inconnue), the downfall of the world (La Fin des Temps), and human relationships. Aqme has opened the concerts for Indochine during their tour since AqME had recorded a track with Indochine (Aujourd'hui je pleure), which is featured on Indochine's album Alice & June.
Their fourth studio album, entitled Hérésie (French for "Heresy"), was released on 4th of February 2008.

After ten years of music with his mates, Ben left AqME on November 2008 in order to work entirely on his own group, Die on Monday. Next to latent period, the band integrates Mulder (Julien Hekking) as guitarist in January 2009, this one and ETN both performed within the band Grymt. This new quartet records a fifth album, En l'honneur de Jupiter (French for "In Honour of Jupiter") which is released on the 19th of October 2009.
...
Aveuglé par d'entêtantes idées
Par les images passées
Par un futur encore en rupture
Est-il déjà trop tard?
Je sens noircir notre avenir
Devenir la logique du pire

Promets-moi de contrer l'ironie du sort
Permets-moi de contrôler l'ennemi du sort

La solution: des mots sans idées
Rien n’est vraiment concret
Le temps est venu de faire beaucoup plus
Avant l’ultime question
Méritons-nous de tous mourir?
Ouais

Promets-moi de contrer l'ironie du sort
Permets-moi de contrôler l'ennemi du sort
Promets-moi de contrer l'ironie du sort
Permets-moi de contourner l'ennemi du sort
Promets-moi de contrer l'ironie du sort
Permets-moi de contrôler l'ennemi du sort

Blinded by overpowering ideas
By passing images
By a future in rupture
Is it already too late?
I feel our future is gloomy
Becoming a worse logic

Promise me to fight the irony of fate
Promise me to control the enemy of fate

The solution: words without ideas
Nothing is really concrete
Time will make much more come
Before the ultimate question
Do we all deserve to die?
Yeah

Promise me to fight the irony of fate
Promise me to control the enemy of fate
Promise me to fight the irony of fate
Promise me to control the enemy of fate
Promise me to fight the irony of fate
Promise me to control the enemy of fate

Thanks to ssweetheart270 on LyricsTranslate.
Last edited by Romain on Tue Sep 10, 2019 2:43 pm, edited 2 times in total.
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Re: France - One song per day.

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

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Michel Jonasz - Soul Music Airlines - 1996
Chanson, Funk

Album: Soul Music Airlines (RYM: 3.44/5)

Artist Biography by Olivier Duboc (Allmusic)
Michel Jonasz gained popularity in the French music scene with a musical blend of jazz, R&B, and traditional songwriting, with a twist of nostalgia and a whiny edge. Many of his best known songs display intimate feelings (lost love, family and childhood memories) backed by gentle and groovy music material, and though his '70s and '80s works has inspired a lot of artists, he has always remained the shy and quiet type (at least when it comes to the media). When it comes to performing on-stage, though, he becomes a great entertainer in his own gentle way, delivering memorable sets to a faithful audience.

Jonasz was born in Drancy (a town known for its sad World War II history) on January 21, 1947, in a Hungarian-Jewish family. Temporarily leaving aside his first artistic choice, acting, he set his mind on a music career. Influenced by famous Frenchmen Georges Brassens, Léo Ferré and Jacques Brel, as well as Ray Charles and Eddy Mitchell, he initially formed three bands, including "The King Set" under which name he released a first single, "Apesanteur," with the help of his friend Alain Goldstein. But Jonasz's solo career actually started in 1969, with the release of his single "Adieu la Terre." After two more singles, his first self-titled LP came out in 1974, a record which he had been asking for complete control of, but was assigned Jean-Claude Vannier as a musical coordinator. The record included two possible radio breakthroughs, "Supernana" (actually a Jean-Claude Vannier song) and "Dîtes Moi." 1975's second album, Changez Tout, displayed Pierre Grosz's lyrics and a more self-assured Jonasz taking full credit for the music, and included the first Jonasz-trademarked single, "Les Vacances Au Bord De La Mer."

Touring France with major artists, Jonasz started to seduce a larger audience, and in 1976, he released "Je Voulais Te Dire Que Je T'attends," a non-LP hit single. 1977 saw him finally embrace the complete songwriting experience, coming up with a new LP of entirely self-composed and written material. His newfound popularity gave Jonasz wings on-stage, and a recording of his November 1977 show at Le Théatre de La Ville was released in 1978. That same year saw him win a SACEM award and release of another LP, Guigui, made in collaboration with Gabriel Yared. 1979 saw his first-ever Olympia set as main act.

With Les Années 80 Commencent, his sixth record, he was garnered a second award, the Prix de l'Académie Charles Cros. Most of his time was spent on tour, except for his work on the soundtrack for Jacques Monnet's movie Clara et les Chics Types. His celebrated seventh record, La Nouvelle Vie, was released in 1981, becoming his most popular record to date, even earning Jonasz his first Gold Record. In 1982, he got a part in Elie Chouraqui's movie, Qu'est-ce Qui Fait Courir David?, leaving him little time to record. He released one single ("Lord Have Mercy"), wrote material for Eddy Mitchell ("Lucille") and Diane Dufresne ("Une Toune Qui Groove") and performed a few live shows. Staying on the studio/tour sequence started a while ago; Jonasz began 1983 with a new record, Tristesse, and after two weeks at L'Olympia, he began his largest tour yet, which included shows in France, Belgium and Switzerland. In 1984, he received another Gold Record for Tristesse. 1985's Unis Vers l'Uni finally made his mainstream breakthrough, gaining him intense popularity, thanks to the infectious "La Boîte De Jazz, La Bossa," or the clever "La FM Qui S'est Spécialisée Funky."

This success led to a huge tour, taking him overseas to Québec and on to three Victoires De La Musique awards (Singer of the Year, Single of the Year, Best Studio Work). Jonasz waited till 1987 to come back with an ambitious stage project, La Fabuleuse Histoire de Mr Swing, played on tour and ending up in Paris in 1988, where it was released as a double-live album and rewarded by a Victoire De La Musique for Best Show. In 1989, he worked on Elie Chouraqui's Miss Missouri soundtrack, but his career pace then began to slow down, his next record, Où Est La Source didn't come out until 1992, and was not as warmly received as his previous efforts. So far, the '90s and early 2000s have been Jonasz's least popular decade. 1996's Soul Music Airlines didn't hit hard enough to earn rightful comeback, status; nor did 2000s Pôle Ouest or 2002's Où Vont Les Rêves. His anticipated comeback in 2005 finally put him back in the saddle, and in 2007, Jonasz released a new album, Chanson Française, in which he covered and paid respect to some of his all-time favorite French singers.

Fun fact: (27949) Jonasz is an asteroid in the main asteroid belt named after the singer.
Vous voilà. Enfin c'est vous.
Depuis deux heures, nous on attend
Dans les coulisses au garde-à-vous
Prêt a bondir sur le premier temps.
On peut perdre son self-control,
Rattraper le temps perdu.
Embarquement immédiat avec la soul.

Soul music airlines. Soul music airlines.
Soul music airlines. Soul music airlines.

Maintenant, place au music-hall.
Elle a sonné, l'heure du show.
Pour s'envoler, c'est facile avec la soul. {x2}
Soul music airlines. Soul music airlines.
Soul music airlines. Soul music airlines.
J'vois ma maison, ça m'fait drôle,

Mon p'tit boulot dérisoire.
Tout s'amenuise.
Plus d'soucis sur les épaules,
Plus d'maîtresse d'école, plus d'devoirs.
Tout s'amenuise.
Soul music airlines. Soul music airlines.
Soul music airlines. Soul music airlines.
A mon signal tout l'monde debout.
Le public est ultra chaud.
Ça va bouillir. Ca y est ça bout.
Ça va grimper crescendo.

Maintenant, place au music-hall.
Elle a sonné, l'heure du show.
Pour s'envoler, c'est facile avec la soul. {2x}
Soul music airlines. Soul music airlines.
Soul music airlines. Soul music airlines. {ad lib}

C'est facile avec la soul.
On peut perdre son self-control
Quand on voyage sur la soul,
Quand on s'envole sur la soul.
Quand on voyage sur la soul.
On peut perdre son self-control
Plus d'soucis sur les épaules,
Quand on s'envole sur la soul,
Quand on voyage sur la soul.
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Re: France - One song per day.

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

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Tiwayo - Wild- 2019


Album: The Gypsy Soul Of Tiwayo

France Musique
Tiwayo is a bohemian singer/songwriter, guitarist and autodidact from Paris, who started his musical education at home, learning to play the guitar at the age of 16. He developed a penchant for the reggae, hip-hop, rock and soul, combining them to create his own musical style. It began to integrate different formations, becoming noticed and appreciated by a lot of musicians, that recognized him for his skills and natural talent. At his 20, he traveled to the United States, and returned changed, inspired; transformed into a complete new person. In 2010, with his already strong desire of work on its personal project, he arranged his compositions on his home studio.


Tiwayo got in touch with the bass player Thierry Negro, to collaborate with him on the project, and to help to pull his music up. In 2015 was released Tiwayo’s first EP named “Tiwayo”, as his own name. This EP includes 5 titles, between them one of his first and most known singles “Wild”. Two years later he contacted Mark Neill to help him with his first album. After two months, he recorded sixteen tracks in the southern United States. Finally, in January (2019), he launched his first album called “The Gypsy Soul of Tiwayo”, counting with 12 tracks, among them “Love Me Like You Say”, “Winter Shades” and “A Place to Call My Own”. It was also released a vinyl version of the album. “The Gipsy Soul of Tiwayo” is the result of ten years of musical, vocal and personal research, reaching exactly the sound the artist wanted. This album is a mix of gospel, reggae, and soul that makes his own way into the people’s heart, with an aura of peace, and a very original style. Some of Tiwayo’s influences are Bob Marley, Amy Winehouse, Nina Simone, and Janis Joplin to mention a few. Throughout his career, he has opened for artists like Sting, Seal, Marcus Miller, and others. He also signed a record deal with the legendary Blue Note label.
This growing singer, whose voice was formed during the sleepless nights and performances in the metro, on the roads in the United States, in France and in Europe, has his spiritual and creative roots in the deep south of America.
My sweet ma' told me
On a bright sunny day
Yeah yeah, yeah
"My dear son take care
'Cause this world goes crazy"
Woah crazy
Some strange winds are blowin'
On the heart of the city
Yeah yeah, yeah yeah
Stronger and stronger
Day after day
Day after day
This world is Wild, Wild, Wild
So Wild
Bad to the bone
When the lights are down
In the streets fears roam
Yeah yeah, yeah yeah
Hatred spreads like a virus
And many feel abandon
Yeah yeah, yeah yeah
Liars and speakers
Are still acting like clowns
Well yeah, yeah, yeah
Will it take a revolution
For a change to come?
This world is Wild, Wild
So Wild, so Wild
Bad to the bone
So Wild, so Wild, so Wild, so Wild
Bad to the bone
So Wild, so Wild, so Wild, so Wild
Bad to the bone
This world is Wild, Wild
So Wild, so Wild
Bad to the bone
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Re: France - One song per day.

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

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Les sales majestés - Soi pauvre et tais-toi ! - 2010
Punk rock

Wikipédia:
Les Sales Majestés is a French punk rock band that has been active since 1981. Founded by Yves Cessinas and Stéphane Robert in 1981, when the name was given to the group. They are known for their criticism of the current system. Arnaud, former singer of the band, is the twin brother of the current singer Yves, author and composer of all the songs since the release of the first album in 1995. Jean-René, eldest brother, was a member of the Sales Majesties until 1986.

Very influenced by the English punk of the first generation, the first times of the Sales Majesties were marked by a DIY (do-it-yourself) attitude, the very principle of punk. In accordance with the ideas they defend, they have always been completely independent and producers of all their albums and clips so that they can set a low price that is accessible to everyone, both for their concerts and for their records and DVDs.

Oui sois pauvre et tais-toi
Toi la petite caissière !
Il n'y a que ton salaire
En promo chez Leclerc...
Oui sois pauvre et tais-toi
Toi le p'tit fonctionnaire
Tu devrais avoir honte
De nous coûter si cher !

Refrain
Et si t'es pas content
Comme dit le président
Et si t'es pas content
T'as qu'à foutre le camp...
Tous les jours on galère
Dans le RER
Serrés comme du bétail
On se rend au travail
Pendant que Nicolas
Fait son footing au bois
On se gèle sur les quais
En attendant l'tramway.

Oui sois pauvre et tais-toi
Toi le sapeur pompier
Tu sais, sauver des vies
Ça rapporte pas de blé
Oui sois pauvre et tais-toi
Toi le petit cheminot
Tu sais les privilèges
C'est pas pour les prolos !

Refrain

Tous les jours on galère (bis)

Solo

Oui sois pauvre et tais-toi
Toi la p'tite infirmière
On t'les paiera jamais
Tes heures supplémentaires
Oui sois pauvre et tais-toi
Toi la p'tite caillera
Fume ta marijuana
Et surtout bouge de là...

Refrain

Oui sois pauvre et tais-toi
Oui sois pauvre et tais-toi
Oui sois pauvre et tais-toi
Oui sois pauvre et tais-toi
Oui sois pauvre !

Be poor and shut your gob,
you measly checkout girl.
Only your wages are
on a discount at Tesco's.
Be poor and shut your gob,
you measly civil servant.
You should be ashamed
to cost us so much money!

(chorus)
And if you're not happy,
as our president says,
if you're not happy, just get
the hell out of the country1...
Every day we struggle
in the commuter train.
Stuffed like cattle,
off to work we go.
While Nicolas
jogs in the woods,
we freeze our asses off
waiting for the tram.

Be poor and shut your gob,
you the fireman.
You know, saving lives
doesn't save money.
Be poor and shut your gob,
you measly railway worker
You know, privileges2
are not for the Prole!

(chorus)

We struggle every day
We struggle every day

Be poor and shut your gob,
you measly little nurse.
You will never get paid
for all your overtime.
Be poor and shut your gob,
you little riffraff.
Just smoke your pot
and get out of my face...

(chorus)

We struggle every day...
Be poor and shut your gob...
Be poor!

1. Allsusion to the far-right motto "France: love it or leave it" which was one of the recurrent pitches of Sarkozy's
2. Rail worker unions are one of the last strong opposition force in France. Each time they go on strike, they get lambasted by right wing politicians for enjoying a "privileged" social status

Thanks to ? on LyricsTranslate.
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Next song.
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Stéphane Picq - Dune sountrack - Chani's Eyes - 1992 - VGST
Video game soundtrack

Wikipédia:
Stéphane Picq (born 16 August 1965) is a French composer of video game music, primarily for ERE Informatique/Exxos and Cryo Interactive.

Picq first began composing in 1987. He retired from the industry in 1998 and moved to Madagascar. In February 2006, he announced that he was building a new studio in Madagascar and may release a compilation of old songs.

Picq claims to own dozens of instruments from all over the world and the ability to play all of them.[citation needed] His musical style incorporates "organic sonority", as he features many "organic sounds" such as breaths, water, sighs. The most representative examples are found in "Dune: Spice Opera", but this technique is also used on other Cryo soundtracks (for example, "Thaa's Secret" in Lost Eden).

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Sergent Garcia - Acabar mal - 1999
Latin Alternative, Ska, Ragga, Afro-Cuban Jazz, Salsa, Reggae

Album: Un Poquito Quema'o (RYM: 3.38/5)

Sergent Garcia is the band formed around French singer Bruno Garcia (1964, France) who had previously been the guitarist of punk band Ludwig Von 88.

Sergent Garcia’s music is a mixture of cumbia, reggae, salsa, ragamuffin, rock and other trends in a new style which he defines as salsamuffin.

Accomplished artist, (musician, producer, dj), he published in 2011 his sixth studio album, Una y otra vez (Cumbancha/The Gwagwita), recorded between France, Spain, Cuba and Colombia.

Album:
AllMusic Review by Don Snowden
Sergent Garcia and his Locos del Barrio don't really fall in this camp, but they follow a pattern common to modern-day roots revivalists: they take the styles they love, jump the energy level a couple of notches, and rough 'em up a little around the edges.
For this band based in France, that translates to an unlikely pairing of Cuban music dominated by up-tempo salsa and throbbing Jamaican raggamuffin on their lively debut album. Unlike many Euro-mix bands, Sergent Garcia doesn't throw elements of the two sounds into the same song that much. Only the Cuban flute floating over the Jamaican groove of "Medicine Man" and the organic shift from Latin trumpet to ragga rhythm on "Que Viene el Mani" fully live up to the salsamuffin tag they've adopted. "Camino de la Vida" is a side trip to U.S. soul and funk influences with a female rapper, and hip-hop is at the forefront of "Afro-Cuban Orishas Underground," a spare platform for the relocated Cuban rap group Orishas.
But the Cuban-flavored percussion section shows that it's the prime focus on rambunctious salsa songs ("Jumpi," "Hoy Me Voy"), broken up by the occasional detour to scruffy raggamuffin ("Acabar Mal") or slower roots tunes ("Amor Pa'mi," "Que Palique"). It's party music first -- "Oye Mi Bomba" is the one strictly political song -- but the enthusiastic verve of the playing makes Sergent Garcia's party a very inviting proposition.
Todo esto va a acabar muy mal
Todo sí, todo tiene que acabar mal (X2)
Si siguen así machacando a la gente
Un día de estos se levanta potente
Con el puño levantando pa'decir que es suficiente
De los palos de la pasma ya tenemos bastante
Cuentos de chinos que nos tiran a la mente
Los palos de la pasma ya tenemos bastante (x2)
Nosotros queremos salir de este cine mal oliente (x2)
Todo esto va a acabar muy mal
Todo sí, todo tiene que acabar mal (x2)
Acabar muy mal, acabar mal
Acabar muy mal
Matarile, rile, rile, rile, ron
Escucha mi son, es son de revolución (x2)
Oye hermano, este son yo vengo animando
Bien pegaditos lo estamos bailando
Con buen ritmo why con sabor. (x2)
Todo esto va a acabar muy mal
Todo sí, todo tiene que acabar mal (x2)
Si siguen así machacando a la gente
Un día de estos se levanta potente
Con el puño levantando pa'decir que es suficiente
De los palos de la pasma ya tenemos bastante
Cuentos de chinos que nos tiran a la mente
Los palos de la pasma ya tenemos bastante
Mucha policia, poca diversión
Escucha mi son es son de revolución (x2)
Todo esto va a acabar muy mal
Todo sí, todo tiene que acabar mal (x2)
Acabar muy mal, acabar mal
Acabar muy mal
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Re: France - One song per day.

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Calogero - Le portrait - 2014
Pop, Pop rock

Album: Les Feux D'artifice (RYM: 3.09/5)

Wikipédia:
Calogero Joseph Salvatore Maurici (born 30 July 1971 in Échirolles, near Grenoble), better known as Calogero (French pronunciation: ​[kalɔʒeʁo]), is a French singer.
By the age of six, Calogero had already taken an interest in music. He quickly learned to play several instruments, including the flute, piano, and bass

In 1986 he became the lead singer and songwriter for a band called Les Charts he started with his brother, Gioacchino Maurici, and a childhood friend, Francis Maggiulli. Between 1989 and 1997, Les Charts released five albums, L'Océan sans fond (1989), Notre monde à nous (1991), Hannibal (1994), Acte 1 (1995) their most successful charting album and Changer (1997). After break-up, all members of Les Charts continued with solo musical careers, but continued to co-write songs together, first, under the name of Calogero Bros. and later listing of their individual names.

As the band began to lose its momentum, Calogero decided to launch himself as a solo artist and gathered important connections by writing songs and collaborating with already popular artists such as Zazie and Pascal Obispo. The latter helped produce Calogero's first solo album Au milieu des Autres (2000). His second album, Calogero (2002) was a huge success with the hit singles "En apesanteur" (In Weightlessness), "Aussi libre que moi" (As Free as Me), "Tien an men" and "Prendre racine" (To Take Root). Finally, in 2004, Calogero released 3, featuring "Face à la mer" a duet with French rapper Passi and several other top singles such as "Yalla" and "Si seulement je pouvais lui manquer".

Calogero's moving lyrics and frail, tender voice have made him one of France's top pop/rock singers.

Since the late 1990s, Calogero composed songs for many artists, often in collaboration with his brother Gioacchino. For example, he composed songs for Florent Pagny ("Châtelet-les-Halles"), Hélène Ségara ("Au Nom d'une Femme" and "Regarde"), Ismael Lo ("L'Amour a tous les droits" and "Faut qu'on s'aime"), Pascal Obispo ("Millésime"), Jenifer Bartoli ("C'est de l'or"), Julie Zenatti ("La Vérité m'attire" et "Toutes les douleurs"), Patrick Fiori ("Que tu reviennes", "Être là", "Encore", "Tout le monde", "Tera umana" et "Il n'y a pas grand chose à dire"), Fred Blondin ("Je manque de toi" and "Perso et les Aimants"), Mario Barravecchia ("On se ressemble"). He also composed three songs for the musical The Ten Commandments: "Je n'avais jamais prié", "Une Raison d'espérer" and "Y'a tant d'amour".

Calogero also participates in numerous charities. He is currently member of Les Enfoirés, he also participated in the single "Noël ensemble" recorded by many artists in 2002, he sang for the Sidaction with Jenifer, and recently, he participated in the single "Douce France" led by Marc Lavoine to fight discrimination and help young people to have work.

In 2008, Stanislas Renoult recorded a duet with Calogero entitled "La Débâcle des sentiments".


Il mélange au fond de sa tasse
Du miel
Il regarde par le vasistas
Le ciel
À chaque fois que passe un avion
Il se dit que c'est peut-être elle
Qui passe au-dessus de sa maison
On lui a dit qu'elle était au ciel

Il rêve couché sur un parquet
Dans les bras de sa mère
Dessinée à la craie
Tous les soirs en secret
Ce dessin il le fait
Trait pour trait
À partir d'un portrait

Il rêve couché sur un parquet
Dans les bras de sa mère
Dessinée à la craie
Tous les soirs en secret
Ce dessin il le fait
Trait pour trait
À partir d'un portrait

Perdu au fond de sa classe
Il s'emmêle
Il se débat avec le coriace
Pluriel
Puis il explique à sa maitresse
pourquoi « parent » ne prend pas d's.
Des câlins il en voudrait tellement
ne serait-ce qu'un par an.

Il rêve couché sur un parquet
Dans les bras de sa mère
Dessinée à la craie
Tous les soirs en secret
Ce dessin il le fait
Trait pour trait
À partir d'un portrait

Il rêve couché sur un parquet
Dans les bras de sa mère
Dessinée à la craie
Tous les soirs en secret
Ce dessin il le fait
Trait pour trait
À partir d'un portrait

Il rêve couché sur un parquet
Dans les bras de sa mère
Dessinée à la craie
Tous les soirs en secret
Ce dessin il le fait
Trait pour trait
À partir d'un portrait

Trait pour trait
À partir d'un portrait

He is mixing at the bottom of his cup
some honey.
He is looking, through the fanlight,
at the sky.
Each time an airplane flies,
he thinks maybe it’s her
who passes above his house.
They’ve told him she was in the sky ( = heaven)

He is dreaming, lying on the floor
in his mother’s arms,
his mother drawn in chalk.
Every night, secretly
he makes this drawing,
perfectly similar to her
from a portrait (of her)

He is dreaming, lying on the floor
in his mother’s arms,
his mother drawn in chalk.
Every night, secretly
he makes this drawing,
perfectly similar to her
from a portrait (of her)

Lost at the back of the classroom
he gets confused,
He struggles with the tough
plural form,
Then he explains to his teacher
why "parent" doesn’t have an s"
He would like to be hugged so much
even only one hug per year would be great

He is dreaming, lying on the floor
in his mother’s arms,
his mother drawn in chalk.
Every night, secretly
he makes this drawing,
perfectly similar to her
from a portrait (of her)

He is dreaming, lying on the floor
in his mother’s arms
his mother drawn in chalk.
Every night, secretly
he makes this drawing,
perfectly similar to her
from a portrait (of her)

He is dreaming, lying on the floor
in his mother’s arms
his mother drawn in chalk.
Every night, secretly
he makes this drawing,
perfectly similar to her
from a portrait (of her)

Perfectly similar to her
from a portrait (of her)


Tanks to Faraway ink on LyricsTranslate.
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Re: France - One song per day.

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Louise Attaque - Vous avez l'heure ? - 1997
Folk Rock, Folk Punk, Nouvelle chanson française, Alternative Rock, Chanson

Album: Louise Attaque (RYM: 3.38/5)

Artist Biography by Jason Ankeny (Allmusic)
French folk-rock quartet Louise Attaque emerged as one of the most successful new acts of their generation via their award-winning 1997 debut LP. Singer/guitarist Gaëtan Roussel and bassist Robin Feix first met as school children, bonding over their common obsession with popular music. While studying in Paris, they formed the group Caravage, enlisting drummer Alexandre Margraff to play the local nightclub circuit. An extended acoustic tour followed, and upon returning to Paris the trio added violinist Arnaud Samuel, whose string accompaniment heralded their embrace of richer, more folk-inspired melodic textures.

After adopting the name Louise Attaque, the new lineup recorded its first demo tape and returned to touring. Following a breakthrough appearance at the Printemps de Bourges festival, they signed to the Atmosphériques label and traveled to Brussels to begin work on their debut, produced by Gordon Gano of American college rock legends Violent Femmes. Issued in April 1997, Louise Attaque's self-titled album slowly but surely proved a grassroots success, ultimately selling more than 2.5 million copies in spite of limited marketing. A return performance at the Printemps de Bourges festival was critical in building their fan base, as was a three-night stint at Paris' La Cigale. At the annual Victoires de la Musique awards in early 1999, Louise Attaque earned Best Group of the Year honors, creating even more outsized expectations for their 2000 follow-up, Comme on a Dit.
While largely adhering to the formula outlined on the first LP, the album nevertheless boasted an edgier sound than the debut, and proved another commercial success. Eschewing conventional tour promotion, Louise Attaque instead curated a traveling festival show, supported by artists including Mickey 3D, Cornu, and Les Wampas as well as U.S. act 16 Horsepower. At year's end the band went on hiatus, and while Roussel and Samuel collaborated as a duo on L'Atelier, an acoustic album issued under the name Tarmac, Feix and Magraff also entered the studio, creating an electronic effort as Ali Dragon. After spending much of 2004 recording at New York City's famed Electric Ladyland, Louise Attaque finally released their third album, A Plus Tard Crocodile, in the fall of 2005, introducing elements of electronica and reggae absent from previous efforts. In 2006 they released the live album En Concert - Y’a t’il quelqu’un ici? Their first Best of compilation, Du monde tout autour followed in 2011.

Vous avez l'heure s'il vous plaît
J'suis là pour l'appartement,
Moi j'investis dans l'immobilier

Je prends des engagements
J'voudrais connaître le prix
J'voudrais savoir le confort
Comme on dit "J'en ai envie"
J'veux plus habiter au port, là

Et le sourire de dépression
Ça c'est con
Quand ça vous prend là
Ça vous colle au corps
Ça vous gratte partout, tout l'temps
Et vous
Est-ce que vous avez le temps
de prendre un café au port
C'est là que j'habite vraiment
Et tant pis pour le confort... Là-bas

Vous avez l'heure s'il vous plaît
J'suis là pour l'appartement,
Moi j'investis dans l'immobilier

Je prends des engagements
J'voudrais connaître le prix
J'voudrais savoir le confort
....

Je suis mort.

Do you have the time please
I'm here for the apartment,
I'm investing in real estate

I make commitments
I wanna know the price
I wanna know the comfort
As they say "I feel like it"
I don't wanna live in the harbor anymore

And the depression smile
That's so stupid
When it takes you
It sticks to your body
It itches everywhere, all the time
And you
Do you have time
for a coffee at the harbor
That's where I actually live
So much for comfort…

Do you have the time please
I'm here for the apartment,
I'm investing in real estate

I make commitments
I wanna know the price
I wanna know the comfort
...

I'm dead.

Thanks to Kevinb on LyricsTranslate.
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Edouard Lalo - Symphonie Espagnole - Cinquième Mouvement : Rondo - 1874 - Classical


Wikipédia:
Édouard-Victoire-Antoine Lalo (27 January 1823 – 22 April 1892) was a French composer. Easily his most celebrated piece is his Symphonie espagnole, which consists of five movements and is a popular work in the standard repertoire for violin and orchestra.

Lalo was born in Lille (Nord), in northernmost France. He attended that city's conservatoire in his youth. Then, beginning at age 16, Lalo studied at the Paris Conservatoire under François Antoine Habeneck. Habeneck conducted student concerts at the Conservatoire from 1806 onwards and became the founding conductor of the Orchestre de la Société des Concerts du Conservatoire in 1828.

For several years, Lalo worked as a string player and teacher in Paris. In 1848, he joined with friends to found the Armingaud Quartet, playing viola and later second violin. Lalo's earliest surviving compositions are songs and chamber works (two early symphonies were destroyed).

Julie Besnier de Maligny, a contralto from Brittany, became his bride in 1865. She aroused Lalo's early interest in opera and led him to compose works for the stage, of which Le Roi d'Ys is the most notable. Unfortunately, these works were never really popular; despite their originality, they incurred considerable criticism for being allegedly too progressive and Wagnerian. This led Lalo to dedicate most of his career to the composition of chamber music, which was gradually coming into vogue for the first time in France, and works for orchestra.

Although Lalo is not one of the most immediately recognized names in French music, his distinctive style has earned him some degree of popularity. Symphonie espagnole for violin and orchestra still enjoys a prominent place in the repertoire of violinists, and every now and then Lalo's Cello Concerto in D minor is revived. His Symphony in G minor was a favorite of Sir Thomas Beecham (who recorded it) and has been occasionally championed by later conductors too.

Lalo's idiom is notable for strong melodies and colourful orchestration, with a rather Germanic solidity that distinguishes him from other French composers of his era. Such works as the Scherzo in D minor, one of Lalo's most colorful pieces, might be considered appropriate embodiments of his distinctive style and strong expressive bent.

The aforementioned Le roi d'Ys, an opera based on the Breton legend of Ys, is Lalo's most complex and ambitious creation. (This same legend inspired Claude Debussy to compose his famous piano piece, La cathédrale engloutie.) For many years Le Roi d'Ys was considered unperformable, and it was not staged until 1888, when Lalo was 65 years old. Eight years earlier, he became a member of the Legion of Honour. He died in Paris in 1892, leaving several unfinished works, including his opera La jacquerie, completed by Arthur Coquard. He was interred at the Père Lachaise Cemetery.

Lalo's son Pierre (6 September 1866 – 9 June 1943) was a music critic who wrote for Le Temps and other French periodicals from 1898 until his death.

The whole symphonie:
https://www.youtube.com/watch?v=fxw3FYPuIzc

The Symphonie espagnole continued Lalo's collaboration with Pablo de Sarasate (1844-1908), a Spanish super-virtuoso and former prodigy whose celebrity spread like wildfire across Europe and America. The violinist impressed hard-to-please critics like George Bernard Shaw and even inspired artists in other fields. One of the Sherlock Holmes stories includes a description of a concert given by Sarasate, while the painter James McNeill Whistler commemorated the violinist with an acclaimed portrait (and even decorated his lavish home).

Sarasate had premiered Lalo's first official violin concerto in 1874, helping to spread the composer's name, and he likewise inspired the Symphonie espagnole. It incorporates concerto thinking so as to showcase the star's jaw-dropping technique as well as the gorgeous tone he was famous for coaxing from his fabled Stradivarius. Lalo explained that he chose the unusual title of the piece, which puzzled some of his peers (who advised him to change it), "because it conveyed my thought-that is to say, a violin soaring above the rigid form of an old symphony-and then because the title was less banal than those that were suggested to me."

Lalo's use of Iberian-tinged thematic material and rhythms pays tribute to Sarasate's background-and even possibly to Lalo's own (his family had migrated from Spain in centuries past). Even more, it points to the public taste for pieces evoking local color of a familiar yet "exotic" sort-for a kind of musical "postcard." Certainly in the wake of the terrible losses of the Franco-Prussian War at the beginning of the 1870s (followed by the disastrous experiment of the Commune), Mediterranean-directed escapism exhibited its appeal. Bizet's opera Carmen, which is of course set in Seville, would have its premiere only a month after the Symphonie espagnole. (The opera initially bombed, but it soon established itself as a huge success-sadly, not before Bizet's premature death.)

The Symphonie espagnole is associated with no particular program beyond the freely associative, contrasting moods and slices of local color that imply Spanish travels. Perhaps Lalo also kept in mind an earlier model from a French master, likewise a hybrid concerto: Berlioz's Harold in Italy, which weds travels through another foreign country with a concerto for viola. Lalo dispenses with the standard three concerto movements. The work's five-movement structure (in essence a suite) alludes to symphonic forms, but there's never any serious doubt about the primary role of the violin soloist. The composer exploits a vast spectrum of the instrument's resources. And aside from his technical demands, Lalo imbues the solo part with a beguiling personality.

The opening motif establishes a striking pattern-and draws out attention to the central role played by rhythmic ideas in this piece. A scherzo-like second movement lightens the mood-here, again is the trope of the orchestra-as-guitar, instruments imitating an instrument, while the solo violin sings its arresting serenade. The ensuing Intermezzo was added as an afterthought. It recalls the habanera-type rhythmic pattern (three-plus-two) that occurs in the first movement.

A melancholy Andante turns to darker orchestral colors and focuses on the violin's eloquent low register. But this nocturnal moodiness is forgotten in the final movement, a rondo whose persistent bell-like sonorities and percussion suggest glints of the awakening sun.

The Symphonie espagnole is one of Lalo's two most often played works, the other being his Cello Concerto in D minor. His "official" Violin Concerto in F major, and his Symphony in G minor, written thirteen years later, are neither performed nor recorded as often.
Last edited by Romain on Sat Sep 23, 2023 3:55 pm, edited 1 time in total.
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Arlt - Le périscope - 2012
Pop, rock, folk

Album: Feu la figure

muraillesmusique.com
‘La Langue’ (« the language »; « the tongue »), was Arlt’s first album of purple-ish acoustic songs, delighting those who like sweet and strange music. It was followed by ‘Feu la Figure’, a collection of electric songs and monolith of indelible darkness. It was also a praise to anxiety, which made everyone anxious as a result. After that, Arlt added a new sound to their already eccentric repertoire with the help of Thomas Bonvalet, a relentless multi-instrumentalist, in a water and oil opus – soberly called Arlt & Thomas Bonvalet – which looked like the encounter of Areski-Fontaine and Harry Partch on a dissection table.
‘Deableries’ was recorded as a quatuor (with Mocke on the guitar and Thomas Bonvalet on the banjo, quarter tone guitar, percussions and various abrasive sounds). It is possibly their most sudden, appealing and bizarre album. This album offers ambiguous love songs dotted with discreet experimentations, radiant melodies sung by siamese voices ever so slightly damaged by the use of poetic dissonances, stellar guitars, incongruous rhythms and a wide production. This new repertoire mixes hallucinatory repetitions with surprising events, intoxicating calypsos, medieval ballads or 3-count blues, all this with a pink and black humor, keen fervor and inventiveness. The result is paradoxical and exciting. It will touch your heart and intrigue you by alternating contradictory emotions. It will make you want to go back immediately, just to make sure it wasn’t just a dream… For fans of Brigitte Fontaine, K Records, Sublime Frequencies, Mississippi Records, delta blues, french chanson…

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Maxime Le Forestier - Mon frère - 1972
Chanson, Singer/Songwriter, Chamber Folk

Album: Maxime Le Forestier (RYM: 3.67/5)

Wikipédia:
Bruno Le Forestier was born on 10 February 1949 in Paris to father Robert Le Forestier and mother Genevieve (née Lili 1917—2010) who had lived in England. He had two older sisters, Annette (born 1943) and Catherine (born 1946).

His musical training started on the violin. He attended the Lycée Condorcet, where he studied literature.

In 1965, he formed a duo (Cat et Maxime) with his sister Catherine. Playing at cabaret venues on Paris' Left Bank, the pair met and formed a friendship with Georges Moustaki. They were amongst the first artists to cover a number of songs by Moustaki – including Ma Liberté and Ma Solitude. In 1968, Catherine joined Moustaki as a backing singer. Le Forestier began to focus on songwriting and composed Ballade pour un traître which was recorded and released by the French/Italian singer and actor, Serge Reggiani.

Le Forestier continued as part-time singer/songwriter during his military service (beginning 1969) with a parachute regiment (the inspiration for the song Parachutiste). He recorded two songs: Cœur de Pierre, Face de Lune, and La Petite Fugue.

His military service ending September 1970, Le Forestier refocused on his musical career. He developed a folksy style which was enormously popular in the 1970s and 1980s. He and his sister spent the summer of 1971 living in the Castro District of San Francisco at the invitation of his friend, Luc Alexandre. The experience, and meeting Allen Ginsberg, was the inspiration of a popular song, San Francisco.

His first album Mon Frère, released in 1972, contains several pieces that have entered French folklore, including the title song Mon frère, San Francisco, Comme un arbre and Education sentimentale. He toured extensively, both in France and abroad. In 1976, he toured in 14 cities in the USSR. Recently he has gained particular acclaim for his reworkings of the songs of Georges Brassens.

"San Francisco", one of his best known songs, begins with the line: "C'est une maison bleue adossée à la colline" (meaning "It's a blue house with its back to the hill"). In 1971, the young singer was living in a hippie commune, called "Hunga Dunga", in a blue house situated at 3841 18th Street in San Francisco. The anthemic song was written as a fond tribute to Maxime Le Forestier’s housemates and hippie friends, and the names mentioned in the song refer to real people. These include Phil Polizatto, who recalls with great affection Le Forestier’s stay in the blue house, in a critically acclaimed book entitled “Hunga Dunga: Confessions of an Unapologetic Hippie”. In the summer of 2011, the house was repainted from light green to its original blue, and a plaque dedicated to Le Forestier was unveiled by the French Consul, pointing to the cultural importance of the song in French popular culture.
Just guitare:
https://www.youtube.com/watch?v=YPIqrgHdcPE

Toi le frère que je n'ai jamais eu
Sais-tu si tu avais vécu
Ce que nous aurions fait ensemble
Un an après moi, tu serais né
Alors on ne se serait plus quittés
Comme des amis qui se ressemblent
On aurait appris l'argot par cœur
J'aurais été ton professeur
À mon école buissonnière
Sur qu'un jour on se serait battu
Pour peu qu'alors on ait connu
Ensemble la même première

Mais tu n'es pas la
À qui la faute
Pas à mon père
Pas à ma mère
Tu aurais pu chanter cela

Toi le frère que je n'ai jamais eu
Si tu savais ce que j'ai bu
De mes chagrins en solitaire
Si tu m'avais pas fait faux bond
Tu aurais fini mes chansons
Je t'aurais appris à en faire
Si la vie s'était comportée mieux
Elle aurait divisé en deux
Les paires de gants, les paires de claques
Elle aurait surement partagé
Les mots d'amour et les pavés
Les filles et les coups de matraque

Toi le frère que je n'aurais jamais
Je suis moins seul de t'avoir fait
Pour un instant, pour une fille
Je t'ai dérangé, tu me pardonnes
Ici quand tout vous abandonne
On se fabrique une famille

You the brother i've never had
Do you know that if you had lived
What we would have done together ?
One year after me you'd be born
Then we'd never left each other
like friends who look like
we'd have learnt slang by heart
I would have been your teacher
At my truant play*
Sure that one day we'd have fought
If we'd have then known*
Both the same young girl*

But you're not here
Who's to blame ?
Not my father
Not my mother
You could have sung that

You the brother i never had
If you knew what ( how much) i've drink*
From my solitary sorrows
if you didn't stand me up*
You'd have finished my songs
I'd teached you to make some
If life had better behaved herself*
She'd have divided in two
Glove pairs, slap pairs
She'd surely have shared
love words and paves
Girls and bludgeon hits

You the brother i'll never have
I'm less alone to have made you
For one moment, for one girl
I disturbed you, forgive me
Here when everything abandons you
one makes himself a family

Thanks to Puck on LyricsTranslate.
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Les Misérables - À la volonté du peuple - 1980
Musical

Musique: Claude-Michel Schönberg
Words: Alain Boublil and Jean-Marc Natel

Album: Les Misérables (RYM: 3.92/5)

Musical:
Les Misérables (/leɪ ˌmɪzəˈrɑːb(lə)/; French pronunciation: ​[le mizeʁabl(ə)]), colloquially known in English-speaking countries as Les Mis (/leɪ ˈmɪz/), is a sung-through musical adapted from French poet and novelist Victor Hugo's 1862 novel of the same name by Claude-Michel Schönberg (music), Alain Boublil and Jean-Marc Natel (original French lyrics), and Herbert Kretzmer (English lyrics). The original French musical premiered in Paris in 1980 with direction by Robert Hossein. Its English-language adaptation by producer Cameron Mackintosh ran in London from October 1985 to July 2019, making it the longest-running musical in the West End and the second longest-running musical in the world after the original Off-Broadway run of The Fantasticks.

Set in early 19th-century France, Les Misérables is the story of Jean Valjean, a French peasant, and his desire for redemption after serving nineteen years in jail for having stolen a loaf of bread for his sister's starving child. Valjean decides to break his parole and start his life anew after a bishop inspires him by a tremendous act of mercy, but he is relentlessly tracked down by a police inspector named Javert. Along the way, Valjean and a slew of characters are swept into a revolutionary period in France, where a group of young idealists attempt to overthrow the government at a street barricade.

Original French production
Alain Boublil's initial idea to adapt Victor Hugo's novel into a musical came while at a performance of the musical Oliver! in London:

As soon as the Artful Dodger came onstage, Gavroche came to mind. It was like a blow to the solar plexus. I started seeing all the characters of Victor Hugo's Les Misérables—Valjean, Javert, Gavroche, Cosette, Marius, and Éponine—in my mind's eye, laughing, crying, and singing onstage.

He shared the idea with French composer Claude-Michel Schönberg, and the two developed a rough synopsis and analysis of each character's mental and emotional state, as well as that of an audience. Schönberg then began work on the music, while Boublil the text. According to Boublil, "I could begin work on the words. This I did—after myself deciding on the subject and title of every song—in collaboration with my friend, poet Jean-Marc Natel." Two years later, a two-hour demo tape of Schönberg accompanying himself on the piano and singing every role was completed. An album of this collaboration was recorded at CTS Studios in Wembley and was released in 1980, selling 260,000 copies.[citation needed]

The concept album includes Maurice Barrier as Jean Valjean, Jacques Mercier as Javert, Rose Laurens as Fantine, Yvan Dautin as Thénardier, Marie-France Roussel as Mme. Thénardier, Richard Dewitte as Marius, Fabienne Guyon as Cosette, Marie-France Dufour as Éponine, Michel Sardou as Enjolras, Fabrice Bernard as Gavroche, Maryse Cédolin as Young Cosette, Claude-Michel Schönberg as Courfeyrac, Salvatore Adamo as Combeferre, Michel Delpech as Feuilly, Dominique Tirmont as M. Gillenormand, and Mireille as the hair buyer.

That year, in September 1980, a stage version directed by veteran French film director Robert Hossein was produced at the Palais des Sports in Paris. The show was a success, with 100 performances seen by over 500,000 people.


Chanson:
"Do You Hear the People Sing?" ("À la volonté du peuple", The people's will, in the original French version) is one of the principal and most recognisable songs from the musical Les Misérables. It is sung twice in the stage musical.

The song is first sung in Act I by Enjolras and the other students at the ABC Cafe as they prepare themselves to launch a rebellion in the streets of Paris during the funeral procession of General Jean Maximilien Lamarque. The song is sung again in the finale as the final song of the musical. This second version, which immediately follows a number by Jean Valjean and others, is sung by the entire cast with revised lyrics, and becomes progressively louder with each stanza.

The song is a revolutionary call for people to overcome adversity. The "barricades" referred to in the song are erected by the rebel students in the streets of Paris in the musical's second act. They are to draw the National Guard into combat and ignite a civilian uprising to overthrow the government, but their rebellion eventually fails.

English cover:
https://www.youtube.com/watch?v=gMYNfQlf1H8

A la volonté du peuple
Et à la santé du progrès,
Remplis ton cœur d'un vin rebelle
Et à demain, ami fidèle.
Nous voulons faire la lumière
Malgré le masque de la nuit
Pour illuminer notre terre
Et changer la vie.

Il faut gagner à la guerre
Notre sillon à labourer,
Déblayer la misère
Pour les blonds épis de la paix
Qui danseront de joie
Au grand vent de la liberté.

A la volonté du peuple
Et à la santé du progrès,
Remplis ton cœur d'un vin rebelle
Et à demain, ami fidèle.
Nous voulons faire la lumière
Malgré le masque de la nuit
Pour illuminer notre terre
Et changer la vie.

A la volonté du peuple,
Je fais don de ma volonté.
S'il faut mourir pour elle,
Moi je veux être le premier,
Le premier nom gravé
Au marbre du monument d'espoir.

A la volonté du peuple
Et à la santé du progrès,
Remplis ton cœur d'un vin rebelle
Et à demain, ami fidèle.
Nous voulons faire la lumière
Malgré le masque de la nuit
Pour illuminer notre terre
Et changer la vie.

Enjolras
To the will of the people
And to the health of progress
Refill your heart with a rebellious wine
And to tomorrow, faithful friend
We want to create a light
Despite the obscurity of the night
In order to illuminate our land
And to change our lives

It is necessary to win by war
Our furrow to plow
To sweep away the misery
For the blond kernels of peace
That will dance of joy in the great wind of liberty

To the will of the people
And to the health of progress
Refill your heart with a rebellious wine
And to tomorrow, faithful friend
We want to create a light
Despite the obscurity of the night
In order to illuminate our land
And to change our lives.

To the will of the people,
I volunteer myself.
If it is necessary to die for her,
I want to be the first
The first name carved on the marble of the monument of hope

All
To the will of the people
And to the health of progress
Refill your heart with a rebellious wine
And to tomorrow, faithful friend
We want to create a light
Despite the darkness of the night
In order to illuminate our land
And to change our lives.
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Frédéric Mercier - Spirit - 1978 - Electronic music
Electronic, Space Disco , Electro-Disco, Progressive Electronic

album: Pacific (RYM: 3.04/5)

last.fm (DeepL translation)
In 1978, Frédéric Mercier composed the synthetic instrumental album "Pacific" on the cover of which we can see a train splitting the waves. This illustration evokes the eponymous ocean, but also the Pacific 231, the famous steam locomotive of the early 20th century, which already inspired Arthur Honneger for a symphonic movement in 1923, based on the accompanying music of Abel Gance's film La Roue. This locomotive was also the subject of a short film made in 1949 by Jean Mitry.
The themes of the album's tracks evoke this double oceanic aspect ("Aqualung", "Waves", "Islands", "Mesogée") and rail ("Amtrak" and its slower version "Pacific heart" at the end of the album).

In 1979, he released a new instrumental album "Music from France" with an eponymous version that features the Marseillaise on synthesizers. A special series of covers will be illustrated with a tricolour cockade and a Formula 1 Ligier, in tribute to the French team that brilliantly defends the national colours on the circuits. The song "Theme from the child" from this album will illustrate the credits of the TV show "Les carnets de l'aventure".

He produced and composed White Soxx's hit "Versailles" in 1981, the 1980s hit "Stars de la pub" (1982), and wrote the song "Turn it up" for Madonna's album "Who's that girl?

In 1984 he collaborated with the singer Lafayette, and on a jingle album with T. Lasry. He composed the title "Tell me" for Primrose, as well as "clenching teeth, not fists" in collaboration for Carolla Vickson, and "Boom Baby Boom" for Marine.

Later, he composed "Bill Brillantine" and "Bye bye 50" for Eddy Mitchell.

he finally released a new synthetic album "Aventure", less inspired, in 1986.

He then worked in marketing for Avid/Digidesign (Pro Tools) in France and today as a professional photographer.

The track "Spirit" from the album "Pacific" was sampled by Jay-Z on his track "What We talking about".

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Napoléon Magloire - Pwan pannié la - 1995

Singer:
Napoleon Magloire, known as Napo, was born in Mare-Gaillard, in Le Gosier (Guadeloupe) in 1919. A talented singer steeped in the musical traditions of his region, he has integrated many musical genres such as gwoka, léwoz o komandman, quadrille, etc. This master-ka with a big heart was also the godfather of the Artists' Crusade, the highlight of the 2009 Fête Patronale, whose theme was: "Journey to the heart of art: painting and music, symbols of creation and genius". Napoleon Magloire died on April 30, 2013, at the age of 94.


Gwo Ka:
Gwo ka is a French creole term for big drum. Alongside Gwotanbou, simply Ka or Banboula (archaic), it refers to both a family of hand drums and the music played with them, which is a major part of Guadeloupean folk music. Moreover, the term is occasionally found in reference to the small, flat-bottomed tambourine (tanbou d'bas) played in kadri music, or even simply to drum (tanbou)in general.

The Gwo Ka musical practice emerged in the seventeenth century, during the transatlantic slave trade

Seven simple drum patterns form the basis of gwo ka music, on which the drummers build rhythmic improvisations. Different sizes of drums provide the foundation and its flourishes. The largest, the boula, plays the central rhythm while the smaller maké (or markeur) embellishes upon it, inter-playing with dancers, audience or singer. Gwo ka singing is usually guttural, nasal and rough, though it can also be bright and smooth, and is accompanied by uplifting and complex harmonies and melodies. There are also dances that tell folk stories that are accompanied by the gwo ka drums.

In modern, urban Guadeloupe, playing drums is not inextricably linked to dance anymore. But historically, the two practices were inseparable parts of the tradition of léwôz, events held fortnightly on Saturdays near the bigger plantations (payday), and each Saturday of the carnival season in areas of greater land parcelling. Gwoka music was–and still is–played throughout the year in various cultural manifestations such as léwòz, kout’tanbou, véyé and religious events, for example Advent's wake. Today, rural Guadeloupans still gather for léwôz experiences, but a modernized and popularized form of gwo ka exists independently, known as gwo ka moderne.
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RoBERT - Les jupes - 1991

Album: Sine

Robert, or RoBERT (born Myriam Roulet in Paris on 14 October 1964), is a French singer, composer and lyricist.

An independent artist and songwriter, Robert's musical style is described as fairy-like, halfway between the tragic and the gothic, sometimes with a pinch of absurdity. Themes of death, childhood, and love regularly appear in her songs, marked by her crystalline, often fragile opera voice and the baroque (and sometimes electronic) music. Often compared to Mylène Farmer, Barbara or Marie Laforêt, she has found artistic success in France and Belgium, but also in Japan, despite a certain media absence. Robert's live shows are often full of hypnotic, giddy, often joyful or even dramatic performances.

Et les regards se croisent
Comme on croise les jambes
Sensuels ou pudiques
Sages ou pervers

Tout dépend de la jupe
Longs, courts, hésitants
De la matière de la jupe
Soyeux, rêches

Transparentes ou opaques,
Elles se dégrafent toutes

Si les jambes se décroisent
Et s'ouvrent lentement
Les regards deviennent vagues

Profonds, chauds

Transparentes ou opaques
Elles se dégrafent toutes

Humides, pénétrants,
Peu importe la jupe
Longue, courte, hésitante
Soyeuse, rêche...
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Tony Paeleman - Zadar - 2017 - Jazz

Album: Camera Obscura

Wikipédia (deepL translate)
Tony Paeleman is a French pianist, keyboardist and rhodist born in 1981 in Nice in the Provence-Alpes-Côte d'Azur region. He has distinguished himself in Jazz, Groove and experimental music in various musical groups.

Encouraged by a family musical tradition, Tony Paeleman has been playing the piano since the age of 5; if his great-grandfather was first violin at the Nice Opera, his grandfather was a pianist and violinist. The latter was at the origin of his first piano lessons. Rocked by a classical education, the Nice native began to play jazz when he entered college. He discovered the Broadway standards of the 1930s, then the masters of the genre such as Bill Evans, Oscar Peterson, Herbie Hancock, Keith Jarrett, Chick Corea.

At the age of 19, he entered the Nice Conservatory and graduated four years later.

In 2005 he came to Paris to perfect his musical practice. He follows the teachings of the Department of Jazz and Improvised Music of the prestigious Conservatoire national supérieur de musique et de danse de Paris. He graduated with honours.

Since 2009 he has been touring on the national and international scene. First with the Daniel Yvinec National Jazz Orchestra, where he is a substitute musician, then with other groups, including his own Tony Paeleman Quintet and the Hip-Hop group Milk Coffee Sugar.

He recorded his first album in September 2012 at the Meudon Studio: Slow Motion, a Jazz album that was noticed by the media.

Some of his musical contributions to Fender Rhodes are highlighted. Especially with:
- Christian Vander, founding member of Magma and the Offering Group,
- Vincent Peirani, who leads the Living Being Quintet to the 2014 Jazz Victories. A musical formation that is completed by
- Julien Herné on electric bass, Yoann Serra (or Antoine Paganotti) on drums and Emile Parisien on saxophone.
- Olivier Bogé, on his first album Imaginary Traveler.
Tony Paeleman is also a sound engineer. He works at the Bruères studio where he recorded Olivier Bogé's third album, Expanded Places.

In 2015, he worked on Rémi Vignolo's album Death of an angry man.

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Lina Margy - Voulez-vous danser grand-mère ? - 1946
Valse musette

Wikipédia:
Lina Margy, whose real name is Marguerite Verdier, is a French singer born on April 12, 1909 in Bort-les-Orgues (Corrèze) and died on November 13, 1973 in Paris.

Lina Margy, a light and playful singer, with an exotic "r" rolling in the tradition of Rina Ketty, stands out from the tragic and realistic singers of her time (Damia, Piaf).

We owe it to him for making it popular. Do you want to dance, Grandma? (revived by Chantal Goya), lyrics by Jean Lenoir to music by Raymond Baltel and Alex Padou (1946-1947).

Lina Margy ended her career by promoting the French repertoire of new songwriters (Georges Brassens, Brel, etc.) during her numerous tours around the world.

She is buried in the Montrouge cemetery in Paris.

The song:
Do you want to dance grandmother? is the title of a French song created by Lina Margy in 1946, written by Jean Lenoir to music by Raymond Baltel and Alex Padou, highlighting intergenerational ties.

It was taken over by Chantal Goya in 1977, who gave her a second youth by making it a great recording success that year, against the trend of disco fashion, and allowed her to enter the heritage of French song. This song continues to be popular with a wide audience and is popular on wedding anniversaries and other grandmother's days.

It was then revived, in a slightly disco pop new wave version, transforming the original three-beat waltz rhythm into a fourbeat rhythm, by Karen Cheryl in 1983.

Chantal "dark hardcore" Goya cover:
https://www.youtube.com/watch?v=So0SLP9HJR4

Ah quelle cérémonie ,
Pour grand-père et grand-maman,
Toute la famille est réunie
Pour leur noces de diamants.
Le champagne qui pétille ,
Fait pétiller tous les yeux
Quand une petite fille,
Dit en riant aux bons vieux :

{refrain} :
Voulez-vous danser grand-mère ?
Voulez-vous valser grand-père ?
Tout comme au bon vieux temps ,
Quand vous aviez vingt ans.
Sur un air qui vous rappelle,
Combien la vie était belle.
Pour votre anniversaire,
Voulez-vous danser grand-mère ?

Comme la joie est immense,
On fait jouer au phono,
Le disque d'une romance ,
Aux accents doux et vieillots.
Alors oubliant leur âge,
En souvenir du passé,
Les grands-parents se décident
Et s'enlacent pour danser.

{refrain} : (x3)
Voulez-vous danser grand-mère ?
Voulez-vous valser grand-père ?
Tout comme au bon vieux temps ,
Quand vous aviez vingt ans.
Sur un air qui vous rappelle,
Combien la vie était belle.
Pour votre anniversaire,
Voulez-vous danser grand-mère ?

Ah what a ceremony,
For Grandpa and Grandma,
The whole family gathered
For their Diamond wedding anniversary
The champagne which sparkles,
Makes all the eyes sparkle
When a little girl,
Says laughing to the dear old couple:

[Chorus:]
Would you like to dance Grandma?
Would you like to waltz Grandpa?
Just like in the good old days,
When you were twenty years old.
To a tune that reminds you,
How beautiful life was.
For your anniversary,
Would you like to dance Grandma?

How immense is the joy,
We play on the gramophone,
The record* of a romance,
With gentle and old-fashioned accents.
So forgetting their wrinkles*,
In memory of the past,
The two ancestors decide,
And embrace one another to dance.

[Chorus] : (x3)
Would you like to dance Grandma?
Would you like to waltz Grandpa?
Just like in the good old days,
When you were twenty years old.
To a tune that reminds you,
How beautiful life was.
For your anniversary,
Would you like to dance Grandma?

Thanks to Motormouse on lyricstranslate.
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Les fleurs de pavot - pourquoi l'amour à deux - 1967
Pop psychédélique

Edu Lazaro:
Les Fleurs De Pavot is considered as the first psychedelic/hippie record from France. A veil of mystery surrounded the real origins of the band at the time... according to their press release, they were formed by a couple of hippies, Groovy Pat from London and Jesus from San Francisco who met at some Soft Machine shows in Paris... the reality was more unglamorous: Les Fleurs De Pavot were in fact a twist band called Bourgeois De Calais, transformed into exploitation acid-eater hippies by their manager JP Rawson.
Je crois en la puissance des fleurs
Je crois en la vérité des couleurs
Ne me prends pas pour un fou
Je ne suis en fait qu'un garçon très doux

Tu penses en paroles d'évangile
Tu fais un homme inhumain et vil
Mais quand il s'agit de m'aimer
Ton amour ne fait que m'étouffer

Regarde-les ceux qui sont mariés
Regarde-les s'abrutir à la télé
Parler du soupe et du beau temps
Et s'endormir au coin du feu

Pourquoi veux-tu me garder pour toi ?
Pourquoi l'amour à deux avec toi ?
Il y a tant d'amour au monde
Prolonge notre duo en une ronde

Non, oh oui dis-moi
Je veux aimer le monde
Je veux aimer le monde
Je veux aimer le monde
Ouah ! Argh… !
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Philippe Sarde - Adieu Poulet - Générique de fin - 1975 - OST

Philippe Sarde (born 21 June 1948) is a French film composer. Considered among the most versatile and talented French film composers of his generation, Sarde has scored over two hundred films, film shorts, and television mini-series. He received an Academy Award nomination for Tess (1979), and twelve César Award nominations, winning for Barocco (1976) and The Judge and the Assassin (1976). In 1993, Sarde received the Joseph Plateau Music Award.

Philippe Sarde was born 21 June 1948 in Neuilly-sur-Seine, Hauts-de-Seine, Île-de-France, France. His mother, Andrée Gabriel, was a singer in the Paris Opera. Through his mother's encouragement, he became interested in music from the early age of three. When he was four years old, he conducted a brief section of Carmen at the Paris Opera. At the age of five, he began experimenting with sound recording and made his first short films. Sarde loved both music and film, and had trouble deciding on his career direction.

Sarde entered the Paris Conservatory, where he studied harmony, counterpoint, fugue, and composition under Noël Gallon. At the age of seventeen, he directed a short 35-mm film in black and white, for which he composed the music, asking Vladimir Cosma to help him with the orchestration. At the age of eighteen, after writing songs for Régine, Sarde met Claude Sautet, who asked him to write the music for his film The Things of Life (1969). The experience established his career direction and initiated a long partnership with Sautet that spanned twenty-five years and eleven films.

Sarde also established close associations with directors Bertrand Tavernier, Pierre Granier-Deferre, Georges Lautner, André Téchiné, and Jacques Doillon. Sarde also collaborated with Roman Polanski on The Tenant and Tess, which garnered an Academy Award nomination, Bertrand Blier's on Beau-Père, Alain Corneau on Fort Saganne, and Marshall Brickman on Lovesick, The Manhattan Project, and Sister Mary Explains It All. In 1988, Sarde was a member of the jury at the Cannes Film Festival.

Film director Georges Lautner once observed that he was constantly amazed by the composer's ability to find a unique approach to each film that he scored. According to Yuri German, writing in the All Music Guide, Sarde's soundtracks are "masterfully and unconventionally arranged" and are often performed by such world-class musicians as Chet Baker, Stan Getz, Stéphane Grappelli, and Maurice Vander."

In April 1990, Sarde married Nave Florence, but they divorced the following year. In 1994, he married Clotilde Burre. They have two daughters, Ponette (born 1998) and Liza (born 1999). Both are enrolled in the seventeenth arrondissement of Paris. Sarde is the brother of producer Alain Sarde.
The French Detective (French: Adieu poulet) is a 1975 French film directed by Pierre Granier-Deferre, and scripted by Francis Veber from a novel by Raf Vallet. It received two César nominations for best supporting actor, and another for editing.
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ALT 236 - Three Thousand levels - 2018
Musique électronique.

Télérama:
A former art teacher, Quentin deciphers in video the visual symbols of the strange.

A graduate of the Beaux-Arts de Paris and endowed with an overflowing creative energy, the former visual arts teacher launched his YouTube channel in 2016 "almost out of despair". Fascinated by the strange, the dark aesthetic and the works of Jérôme Bosch, the thirty-year-old challenges himself to explore in his videos crazy images, art, cinema, and especially mythologies and symbols. The devil hides himself in the details: the keyboard shortcut alt+236, which gives its name to the string, originally made it possible to write... the symbol of infinity.

Each of the videos in alt 236 plunges us into a unique world, a "joyful brothel" as fascinating as it is surreal. Determined to set no limits, Quentin successively tries to compose music (grunge, rock or electro hovering) in his "Soundtracks" formats, deciphers with the "Mythologies" section the myths present in different works, and discusses throughout his "Stendhal syndrome" on artistic or scientific concepts. Whether it's manga, movies, video games or painting, the youtubeur manages to link a great diversity of universes and concepts in the heart of a gigantic canvas. An experience not to be missed.



An excellent French youtube chanel... and I like the music a lot :
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Helmut Fritz - Ça m'énerve - 2009

Wikipédia:
Éric Greff (French pronunciation: ​[eʁik ɡʁɛf]; born July 19, 1975 in Forbach, Moselle), better known by his aliases Helmut Fritz and Géronimo, is a French singer-songwriter and record producer. Greff is known for his 2009 single "Ça m'énerve", in which he portrays a German dandy living in Paris. The single, produced by Laurent Konrad, was released on March 2009 and rapidly reached number one in France.

To reinforce his identification with the song "Ça m'énerve", Éric Greff wrote a fictional biography for Helmut Fritz.

Song:
"Ça m'énerve" (pronounced [sa m‿enɛʁv], literal translation : "It Bugs Me") is a 2009 electronic novelty song recorded by French singer Helmut Fritz. It was his debut single from his album En observation and was released on 16 March 2009. It was a huge hit in France, where it topped the singles chart. The song was produced by Laurent Konrad, who had previously worked with Discobitch. The radio edit version and the vip dub mix are included on the track listing of the album.

As of August 2014, it was the 75th best-selling single of the 21st century in France, with 342,000 units sold.

J'entre au Costes boire un verre,
mais la serveuse me pompe l'air.
J'ai pas la réservation,
je ressors, j'ai l'air d'un con.
Ça m'énerve, oui ça m'énerve.
J'ai un cadeau à faire
de chez Zadig & Voltaire ;
Le pull où c'est marqué « Rock »,
mais y a la rupture de stock.

Ça m'énerve !
Toutes celles qui portent la frange a la Kate Moss.
Ça m'énerve !
Le rouge à lèvres, c'est fini maintenant c'est le gloss.
Ça m'énerve !
Toutes celles qui rentrent dans le jean slim en taille 34.
Ça m'énerve.
La seule vue sur le string te donne envie de les abattre.
Scheiße!

Devant le club VIP, y a plein de Lamborghini.
Moi, j'arrive sur mon Vespa, on me dit : « Tu rentres pas. »
Mais ça m'énerve.
J'entre chez Weston, une blondasse au téléphone
Me dit : « Je peux vous aider ? »
Non, je vous ai pas sonnée.
Elle m'énerve, mon Dieu qu'elle m'énerve.
J'ai bu le mojito au Milliardaire,
dans le carré, j'ai tout vomi par terre.
J'ai perdu mon ticket pour le vestiaire.
Je trouve pas de taxi, ach, c'est la guerre !

Ça m'énerve !
Toutes celles qui boivent le champagne rosé.
Ça m'énerve !
Pour oublier qu'en Jimmy Choo, t'as mal aux pieds.
Ça m'énerve tous ces gens qui font la queue chez Ladurée,
tout ça pour des macarons.
Mais bon...
il paraît qu'ils sont bons.

Ça m'énerve !
Toutes celles qui dansent sur le dance floor comme des princesses.
Ça m'énerve !
Toutes celles comme toi qui écoutent beaucoup trop fort la musique.
Ça m'énerve !
Moi, je monte les voir et je leur dis avec le cric : ça m'énerve.

I get in Costes to drink a glass
But the server bores me out
I have no booking
I leave looking like an idiot
That gets on my nerves , yes that gets on my nerves

I have to buy a present
From Zadig & Voltaire
This sweater that says " Rock "
But it's out of stock

That gets on my nerves
All these girls with bangs like Kate Moss
That gets on my nerves
Red lipsticks are out of fashion , now it's all about gloss
That gets on my nerves
All these girls who can fit into 34-sized slim jeans
That gets on my nerves
Just looking at their g-strings makes you want to shoot them down
Sh*t !

In front of the VIP club , there's plenty of Lamborghinis
I arrive on my Vespa , I am told I can't get in
But that gets on my nerves
Getting in Weston , a brassy blonde on the phone
Says me " Can I help you ? "
No , I didn't ask you
She gets on my nerves, ow my God how she gets on my nerves
I drank a mojito at the Milliardaire's
On the dance floor I brought it all up over the ground
I lost my ticket in the cloakroom
I can't find a taxi , ow , this is war !

That gets on my nerves
All these girls drinking pink champagne
That gets on my nerves
To forget that their feet hurt in Jimmy Choo's shoes
That gets on my nerves , all these people standing in line at Laduree's
Just for macaroons
But well ..
I was told they taste good

That gets on my nerves
All these girls dancing on the dance floor like princesses
That gets on my nerves
All these girls like you listening to music way too loud
That gets on my nerves
I'm going upstairs to tell them with a jack : " That gets on my nerves "

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

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

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Francis Cabrel - Je t'aimais, je t'aime et je t'aimerai - 1994
Chanson, Singer/Songwriter, Folk Rock, Blues Rock, Pub Rock

Album: Samedi soir, sur la terre ( RYM: 3.62/5)

Artist Biography by Samuel Johnson (Allmusic)

Varied as it is, the music of Francis Cabrel never strays far from his basic songwriting tools: the acoustic guitar and gentle reflections on life. His clear voice and clean guitar are ever the focus of his songs. Around this core he weaves contemporary folk, blues rock, French pop, smooth jazz, and even classical sounds. His lyrics have received much attention among French-speaking audiences and critics, and his albums sell well in those circles. His style has also sparked a revival of interest in acoustic music in France.
Cabrel's involvement in music began at his lycée (secondary school) in southwestern France. Inspired by Bob Dylan's music, he taught himself to play guitar. He joined up with a group called the Maïna Pub (later changed to les Virginys) which covered songs by the Beatles, the Rolling Stones, and Jimi Hendrix. The group eventually sublimated, and Cabrel began performing solo and working on his own material. In 1974, he entered a contest for singer/songwriters in the southwest France and walked away with first place. The stated prize was the opportunity to record a 45 single, but the judges were so impressed that they asked him to record an LP instead. The resulting album, Les Murs de Poussière, was released in 1977. Cabrel and his record company were displeased with the sound and success (respectively) of the album, but Cabrel moved to Paris and continued to perform in public. He released his second album, Les Chemins de Traverse, in 1979. The second single from the album, "Je l'Aime à Mourir," gained the attention of French listeners, and Cabrel became nationally recognized.
In the early '80s, Cabrel released Fragile (1980), Carte Postale (1981), and Quelqu'un de l'Intérieure (1983); these albums generated hits and sold well in France. During these years Cabrel built an audience in Quebec also by touring both solo and with a band. Having garnered considerable success with his three previous albums, Cabrel changed his pace and approach in the mid-'80s. He released a live album (Cabrel Public) in 1984, a studio album (Photos de Voyages) in 1985 and a compilation (w-87) in 1987.
He moved back to southwestern France, set up his own studio, turned more of his attention to his family, and released albums of new material at a leisurely pace. He continued this pattern in the late '80s and through the '90s with Sarbacane (1989), d'Une Ombre à l'Autre (a 1991 live three-disc set), and Samedi Soir sur la Terre (1994).
Each release was greatly anticipated in France and Quebec, and all sold well. The two albums of original material (Sarbacane and Samedi Soir sur la Terre) did particularly well, and each went multi-platinum.
Hors-Saison was released in 1999 following a 5-year break and Cabrel supported it with a national tour and an impressive 10-day stint at the Olympia in Paris. During the early part of the noughties, Cabrel took part in a series of concerts entitled Autour du Blues alongside international artists such as Patrick Verbeke, Tanya Saint Val and David Johnson. Following these shows his tenth record, Les Beaux Dégâts, was released in 2004. The album featured a new dynamic to Cabrel’s sound with a brass section bringing his songs to life and included a guest performance from Autor du Blues tour-mate David Johnson. Carbel returned in 2008 with Des Roses et des Orties which undertook an array of political and social issues that resonate strongly throughout the entire record. He also included a handful of French adaptations of work by Bob Dylan, Creedence Clearwater Revival and J.J. Cale.

Album:
AllMusic Review by Samuel Johnson
Francis Cabrel is in top form for this 1994 release. While the style of the music stays in the acoustic rock category, each song is carefully crafted and infused with a variety of sounds and influences, ranging from contemporary folk ("Tot ou tard s'en aller") to cool jazz ("Le noceur") to blues-rock ("Assis sur le rebord du monde"). Cabrel uses his voice like an instrument, varying the tone and texture for effect. His renowned lyrics are sharp as well, from the Dylanesque "La corrida" to the poetic "Je t'aimais, je t'aime, je t'aimerai." The album flows along smoothly at a leisurely pace, but never loses interest, thanks to the changing instrumentation, judicious use of guest artists (such as Nicolas Reyes of the Gipsy Kings) and the musical direction of Gèrard Bikialo. The album also stays focused on the songs, prominently featuring Cabrel's voice and guitar. The music on Samedi soir sur la terre represents a master of the trade in action.
Mon enfant nue sur les galets
Le vent dans tes cheveux défaits
Comme un printemps sur mon trajet
Un diamant tombé d'un coffret
Seule la lumière pourrait
Défaire nos repères secrets
Où mes doigts pris sur tes poignets
Je t'aimais, je t'aime et je t'aimerai

Quoi que tu fasses
L'amour est partout où tu regardes
Dans les moindres recoins de l'espace
Dans le moindre rêve où tu t'attardes
L'amour comme s'il en pleuvait
Nu sur les galets

Le ciel prétend qu'il te connaît
Il est si beau c'est sûrement vrai
Lui qui ne s'approche jamais
Je l'ai vu pris dans tes filets

Le monde a tellement de regrets
Tellement de choses qu'on promet
Une seule pour laquelle je suis fait
Je t'aimais, je t'aime et je t'aimerai
Quoi que tu fasses
L'amour est partout où tu regardes
Dans les moindres recoins de l'espace
Dans le moindre rêve où tu t'attardes
L'amour comme s'il en pleuvait
Nu sur les galets

On s'envolera du même quai
Les yeux dans les mêmes reflets
Pour cette vie et celle d'après
Tu seras mon unique projet

Je m'en irai poser tes portraits
À tous les plafonds de tous les palais
Sur tous les murs que je trouverai
Et juste en dessous, j'écrirai

Que seule la lumière pourrait…

Et mes doigts pris sur tes poignets
Je t'aimais, je t'aime, je t'aimerai

My naked child on the pebbles
The wind in your undone hair
Like a spring in my path
A diamond fallen from a small box
Only the light could
Unravel our secret places
Where my fingers stuck on your wrists
I loved you, I love you, and I will love you

And whatever you do
Love is everywhere you look
In every single corner of space
In every single dream you linger in
Love, like if it was pouring some
Naked on the pebbles

The sky pretends he knows you
He's so beautiful, it must be true
Him, who never approachs
I saw him caught in your nets

The world has so many regrets
So many promises we make
Only one I was made for
I loved you, I love you, and I will love you
And whatever you do
Love is everywhere you look
In every single corner of space
In every single dream you linger in
Love, like if it was pouring some
Naked on the pebbles

We’ll take off from the same dock
The eyes in the same reflections
For this life and the one after
You will be my only plan

I’ll go hang your portraits
To all the ceilings of all the palaces
On all the walls I'll find
And just under, I will write

That only the light could…

And my fingers stuck on your wrists
I loved you, I love you, and I will love you

thanks to Ksix on LyricsTranslate.
Last edited by Romain on Sat Sep 23, 2023 3:57 pm, edited 1 time in total.
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Re: France - One song per day.

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

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Cannibale - Not Easy To Cook - 2018
Psychedelic Rock

Album: Not Easy To Cook (RYM: 3.42/5)

Born Bad Records
Still unknown in rock territory, French band Cannibale gets its name from its «kind of exotic garage» music whose humid tropical groove is slowly eating up all the stereotypes about Born Bad releases. If there’s cannibalism to be found in «No Mercy for Love», it’s in reference to the Caribbean rhythms here and there, and to the psychedelic sound from the backwoods that make this first album a peculiar occurrence in the land of strikes and wine drinkers.

There’s never any silence with Cannibale and, as for the lambs, we’ll stick to the village in the middle of nowhere where the band members reside—a hamlet in Normandy with a total population of 300 including the cows. Rather than human flesh, these guys have been feeding on their own impatience. Their tale, just like their music, doesn’t fit any usual standards: lead guitarist Manuel and singer Nicolas met in junior high (which is the case for 99% of rock bands so far), but the members of Cannibale have a Frustration type profile—almost all of them are over forty. What happened during the last twenty years? With unbending faith, these guys played in loads of bands that never made it to the top (Amib, De Rien, 7Questions, Kouyaté Neerman, Renza Bo, Blast…) and even ended up playing as session musicians alongside Camile Bazbaz or Johnny Halliday. After winning the Inrocks Labs contest with Bow Low, their penultimate band, and releasing two albums with Because Editions, the Norman guys finally decided to create Cannibale in 2016.

In theory, considering the beginning of their career, or lack thereof, you couldn’t imagine you’d end up hearing the sounds from «No Mercy for Love»: a surprising mixture of cumbia, African rhythms and garage music. Or, if you will, a kind of missing link between Fela Kuti, The Doors, and The Seeds. So as to climb the ladder of success, Cannibale eventually had the good idea to add a seat to the table and contact JB from Born Bad. That’s when the story turns into a remake of The Wild One, the Brando movie: «JB told us he liked what he heard, so he drove his motorcycle to our place, tried to impress us with a controlled skid, and then we had mashed potatoes. He helped himself to two more servings and said ‘’This mash is totally fuucked!’’ Later on, on his way out, he said: ‘’Let’s hit the road to glory!’’ So now we wait.» With such tracks as Hidden Wealth, Carribean Dream, or Mama, stay patient guys, success shouldn’t be too late to come now.


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Re: France - One song per day.

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Re: France - One song per day.

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Bernard Lavilliers - Melody Tempo Harmony - 1995
Chanson, Pop, Latin American Music, Pop Reggae

Single.

Artist Biography by François Couture (Allmusic)
With the body of a bouncer, the looks of a movie star, and a low, sensual voice, Bernard Lavilliers started as a left-wing singer following in the footsteps of Léo Ferré. This boxer-singer rose to stardom in France in the mid-'70s (other Francophone countries followed quickly) and became an icon of the free-thinking singer/songwriter, the conscience of the French bourgeoisie. A serious traveler and occasional reporter, Lavilliers has made long stays in many South American and African countries, always bringing back songs (and sometimes musicians) with him. He was one of the first French singers to make "world music."

Lavilliers (b. 1946) comes from a lower-class family. His father was a steel worker and unionist. Gifted with a solid frame and a resolute mind, the young Lavilliers was prompt to argue and fight -- he picked up boxing as a hobby at age 13. After spending a year in reformatory, he joined his father at the steel mill in 1962. Three years later, he'd had enough and took off to Brazil, working there as a jungle truck driver. Back in France in 1967, he was incarcerated for skipping his military service.

Back in his days at the factory, Lavilliers had begun to write songs. In prison he persevered and once out, started to perform in Paris' cabarets. Jean-Pierre Hébrard of Decca gave him a record contract in late 1967. The singer recorded two singles and an eponymous LP, his acoustic anarchist songs putting him very close to Ferré. He also tried other careers, going back to boxing for a moment, managing night clubs the next. In 1972, he released his second album, Les Poètes. Three years later, Le Stéphanois yielded the minor classic "San Salvador."

His big break came in 1976, at age 30. Signed by Barclay, he was presented with two musicians who would become his first solid backup players and invaluable contributors: Pascal Arroyo and François Bréant. Together they recorded Les Barbares, which propelled Lavilliers to the top. Political and severe in his judgments, the singer threw one hit off after another, up to 1979 when the dark and cold LP Pouvoirs chilled both media and public. Another South American trip later, he recorded O Gringo, which became his biggest seller, thanks to a return to exotic rhythms. The end of a torrid affair with the American body-building star Lisa Lyons is at the heart of État d'Urgence (1983), which included the song "Idées Noires." A hit-scorer and a touring dynamo, Lavilliers turned more and more to South American and African rhythms, as he investigated the situations in Nicaragua and Cuba. If (1988) yielded one of his biggest international hits to date, "On the Road Again," topped only by "Melody Tempo Harmony" in 1995. Slowing down his activities as he crossed the 50-year bar, he continued to release albums regularly and has made a couple of big tours in the late '90s. At the beginning and throughout the ‘00s, he released a plethora of albums, the highlights being 2005’s Escale Au Grand Rex and 2008’s Samedi Soir A Beyrouth.

Ses doigts longs et rapides couraient sur sa guitare
Ses riffs comme des fluides transperçaient le brouillard
Puis la lumière dorée du soleil de Negril
Planait sur la fumée en petites notes agiles

Ses textes étaient précis et bourrés d'humour noir
C'était donc mon ami depuis ce fameux soir

Melody, tempo, harmony
I do it for me, to give you my soul
Melody, tempo, harmony
Guitar, bass, funky, lead and back vocals

J'étais noir, moi aussi, mais pour d'autres raisons
J'avais passé dix ans à dormir en prison
C'était une drôle d'affaire pleine de coups d'escopette
De transporteurs de fonds et puis de grosses galettes

Oh, melody, melody, oh, yeah
Melody, tempo, harmony
I do it for me, to give you my soul
Melody, tempo, harmony
Guitar, bass, funky, lead and back vocals

Dans la vie, mon garçon, que tu sois noir ou blanc
T'as le choix, tu travailles, ou tu gagnes de l'argent
Police did not like my sarcastic lyrics
Bye-bye, big money et fini la musique

Melody, tempo, harmony
I do it for me, to give you my soul
Melody, tempo, harmony
Guitar, bass, funky, lead and back vocals

Melody (melody, melody, tempo and harmony)
(Melody, guitar, bass and funky)
(Melody, melody, tempo and harmony)
(Melody, guitar, bass and funky)
(Melody, melody, tempo and harmony)
(Melody, guitar, bass and funky)
(Melody, melody, tempo and harmony)
(Melody, guitar, bass and funky)

His long quick fingers ran over his guitar.
His riffs pierced the mist like fluids,
then Negril's1golden sunlight turned into
tiny nimble notes hovering over smoke.

His lyrics were sharp and full of dark humour,
and so he had been my friend since that special night

Melody, tempo, harmony
I do it for me, to give you my soul
Melody, tempo, harmony
Guitar, bass, funky, lead and back vocals

I was black too, though for other reasons2.
I had spent ten years sleeping in prison.
It was a weird job full of gunshots,
cash escorts and big dough

Oh, melody, melody, oh, yeah
Melody, tempo, harmony
I do it for me, to give you my soul
Melody, tempo, harmony
Guitar, bass, funky, lead and back vocals

In life, son, be you black or white, you've got a choice:
either you work or you make money.
[the] Police did not like my sarcastic lyrics
Bye-bye, big money and the music's over

Melody, tempo, harmony
I do it for me, to give you my soul
Melody, tempo, harmony
Guitar, bass, funky, lead and back vocals

Melody (melody, melody, tempo and harmony)
(Melody, guitar, bass and funky)
(Melody, melody, tempo and harmony)
(Melody, guitar, bass and funky)
(Melody, melody, tempo and harmony)
(Melody, guitar, bass and funky)
(Melody, melody, tempo and harmony)
(Melody, guitar, bass and funky)

1.Jamaica has always been Lavillier's never-never land Regular smile
2."noir" can also mean "drunk". I don't see a way to translate that pun
Thanks to silenced on LyricsTranslate.
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Re: France - One song per day.

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Next song.
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