France - One song per day.

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Romain
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Re: France - One song per day.

Post by Romain » Wed Jan 30, 2019 7:07 am

Nicolas Gombert - In Te Domine Speravi - Motet à six voix - 1539 - Classical
Renaissance

Wikipédia:
Nicolas Gombert (c. 1495 – c. 1560)[1] was a Franco-Flemish composer of the Renaissance. He was one of the most famous and influential composers between Josquin des Prez and Palestrina, and best represents the fully developed, complex polyphonic style of this period in music history.

Details of his early life are sketchy, but he was probably born around 1495 in southern Flanders, probably between Lille and Saint-Omer, possibly in the town of La Gorgue. German writer and music theorist Hermann Finck wrote that Gombert studied with Josquin; this would have been during the renowned composer's retirement in Condé-sur-l'Escaut, sometime between 1515 and 1521.

Gombert was employed by the emperor Charles V as a singer in his court chapel in 1526 and possibly as a composer as well. Most likely he was taken on while Charles was passing through Flanders, for the emperor traveled often, bringing his retinue with him, and picking up new members as he went. A document dated 1529 mentions Gombert as magister puerorum ("master of the boys") for the royal chapel. He and the singers went with the emperor on his travels throughout his holdings, leaving records of their appearances in various cities of the empire. These visits were musically influential, in part because of Gombert's stature as a musician; thus the travels of Charles and his chapel, as did those of his predecessor Philip I of Castile with composer Pierre de la Rue, continued the transplantation of the Franco-Flemish polyphonic tradition onto the Iberian Peninsula. At some point in the 1530s Gombert became a cleric and probably a priest; he received benefices at several cathedrals, including Courtrai, Lens, Metz, and Béthune. He remained in the Imperial chapel as maître des enfants ("master of the children") until some time between 1537 and 1540, being succeeded by Thomas Crecquillon and later Cornelius Canis. Even though he held this very position at the Imperial chapel, he never officially received the title of maître de chapelle – music director – which was a title given to both Adrien Thibaut and Thomas Crecquillon. While serving in this position, he likewise unofficially held the position of court composer, arranging numerous works commemorating the key happenings during Charles V's life.

In 1540 during the height of his career, he vanished from chapel records. According to contemporary physician and mathematician Jerome Cardan, writing in Theonoston (1560), in 1540 Gombert was convicted of sexual contact with a boy in his care and was sentenced to hard labor in the galleys. The exact duration of his service in the galleys is not known, but he was able to continue composing for at least part of the time. Most likely he was pardoned sometime in or before 1547, the date he sent a letter along with a motet from Tournai to Charles' gran capitano Ferrante I Gonzaga. The Magnificat settings preserved uniquely in manuscript in Madrid are often held to have been the "swansongs" that according to Cardan won his pardon; according to this story, Charles was so moved by these Magnificat settings that he let Gombert go early. An alternative hypothesis (Lewis 1994) is that Cardan was referring to the highly penitential First Book of four-part motets; however, in neither case is it clear how Gombert was able to compose while rowing in the galleys as a prisoner.

It is not known how long Gombert lived after his pardon or what positions, if any, he held; his career faded into relative obscurity after he was freed. He may have retired to Tournai, spending the final years of his life as canon there. Bracketing dates for his probable death are 1556 and 1561; in the former year Finck mentioned that he was still living, and in 1561 Cardan wrote that he was dead, without giving details.

Music and style
Adrian Willaert and Nicolas Gombert are generally recognized as the exemplars of the late Franco-Flemish school, before the center of Renaissance art-music moved to Italy. A Fleming, Willaert relocated to Italy and along with the originally Flemish composer Orlando di Lasso brought the Franco-Flemish style of simultaneously dense and lyrical counterpoint to Italy. Like Willaert, Gombert brought the polyphonic style to its highest state of perfection; if imitation is a common device in Josquin, it is integral in Gombert.

Gombert's style is characterized by dense, inextricable polyphony. Extended homophonic passages are rare in his sacred works, and he is particularly fond of imitation at very close time intervals, a technically very difficult feat (although he only rarely wrote strict canon). He preferred the lower voice ranges instead of the four voices (SATB) which were the most common voicings for pieces at the time, such as five and six parts in mostly male registers. Gombert, unlike his predecessor and mentor, Josquin des Prez, used irregular numbers of voice entries and avoided precise divisions of phrases, resulting a less-punctuated, more continuous sonic landscape. Syncopations and cross-accents are characteristic of his rhythmic idiom, giving ictus to his otherwise seamless, enduring lines.

Harmonically, Gombert's compositions stressed the traditional modal framework as a baseline, but especially in dense textures of six or more voices, he wrote polymodal sections wherein a subset of voices would sing the lowered pitches of F or B♭ while another subset would sing the raised pitches of F♯ or B: a D major and D minor chord or a G major and a G minor chord might be simultaneously sounded. Melodic motion in one voice that, to retain melodic and harmonic coherence with the other voices, employed musica ficta, or an extended set of pitches from the basic modal framework, was very prominent in his musical stylings. The false relations, usually between a F and an F♯ or a B♭ and B, create a dissonance that Gombert employed for emotional effect while adhering to traditional rules of counterpoint.

A motet?
In western music, a motet is a mainly vocal musical composition, of highly diverse form and style, from the late medieval era to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond. The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts".

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Romain
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Re: France - One song per day.

Post by Romain » Fri Feb 01, 2019 10:23 am

Next song.

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Romain
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Re: France - One song per day.

Post by Romain » Fri Feb 01, 2019 10:29 am

Calypso Valois - Le jour - 2016
Chanson, pop, synthpop

Album: Cannibale (RYM: 3,30/5)

Alias-production (DeepL translation)
When we talk about Calypso Valois' music, words rush to describe this fiercely French-speaking, poetic and narrative orchestral pop.
Author, composer, performer, the young woman signs heady melodies, hits without seeming to touch them, and chiselled texts where she releases, almost negligently, formulas to fall: "This slut is beautiful as the day"... She speaks of love, violence, flesh, siblings, celebration, boredom and rupture, the beauty of the world. Ugliness, Calypso the aesthete prefers to leave it in the shadows.

As a child, she already has very strong tastes. She picks from the disco of her parents, the musicians Elli & Jacno. Upset by Chopin, amazed by Marvin Gaye, intrigued by Gainsbourg, this little insomniac girl only manages to sleep by listening to the Velvet Underground...

It was during these years between play and reality that she formed the Cinéma group in the early 2010, with Alexandre Chatelard. Her encounter with the synthesizer relieved her of her complexes about the composition, which she considered sacred until then. The words of encouragement from his sponsor, Etienne Daho, who advised him to follow his intuition and appetite for pop, contributed to this new freedom.

"I can't compromise, it's not acceptable in art," she says. Faithful to her convictions, she composes tirelessly, then writes - her lyrics do not just accompany the melodies, they inhabit them.

Drawing on the sensuality of the 70s, the abundance of lyrical music and touching, here and there, on both the urbanity of the 90s and the playful eighties, Cannibale reinvents itself with each title. Without ever getting lost on the way, thanks to a song that is both distant and warm, giving way to fantasies and projections.
When Calypso speaks fervently about Barbara, Marie Laforêt, Brigitte Fontaine and Françoise Hardy, we realize that she shares with these icons an innate sense of elegance. This rare and precious chic, combined with a true melodic instinct, make Cannibale the most beautiful French pop record of the year.

Jamais ne va disséquer la fleur
Vénéneuse amoureuse tu risquerais d'avoir trop peur
Et soudain le rire se fond en pleur
Glisse en intraveineuse et vient rouiller ton pauvre coeur
Elle te fait envie pourtant tu la veux toujours
Et tu dis vouloir mourir pour la vie
Cette salope est belle comme le jour

Quand j'en aurai fini avec toi
Il ne restera rien, oh c'est drôle quand tu te débats
Tu mords la poussière et tu t'en vas
Je te vois au loin il n'y a que des ruines en moi

Elle te fait envie pourtant tu la veux toujours
Et tu dis vouloir mourir pour la vie
Cette salope est belle comme le jour

Elle te fait envie pourtant tu la veux toujours
Et tu dis vouloir mourir pour la vie
Cette salope est belle comme le jour

The flower will never be dissected
Poisonous lover, you'll run the risk of being too afraid
And suddenly, the laughter turns to tears
Slipping intravenously to come and rust your poor heart

She makes you desire, yet you always want her
And you say you want to die for life
This slut is as beautiful as the day

When I'm done with you
There'll be nothing left, oh, it's funny when you argue with yourself
You bite the dust and you get out of here
I see you in the distance, there are only ruins in me

She makes you desire, yet you always want her
And you say you want to die for life
This slut is as beautiful as the day

She makes you desire, yet you always want her
And you say you want to die for life
This slut is as beautiful as the day

Thanks to mayasurya on LyricsTranslate.

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Romain
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Re: France - One song per day.

Post by Romain » Mon Feb 04, 2019 1:10 pm

Next song.

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Romain
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Re: France - One song per day.

Post by Romain » Mon Feb 04, 2019 1:30 pm

Charles Trenet - La mer - 1946
Chanson

Wikipédia:
Louis Charles Auguste Claude Trenet (French: [ʃaʁl tʁəne]; 18 May 1913 – 19 February 2001) was a French singer and songwriter. He was most famous for his recordings from the late 1930s until the mid-1950s, though his career continued through the 1990s. In an era in which it was unusual for singers to write their own material, Trenet wrote prolifically and declined to record any but his own songs.

Trenet's best-known songs include "Boum!", "La Mer", "Y'a d'la joie", "Que reste-t-il de nos amours?", "Ménilmontant" and "Douce France". His catalogue of songs is enormous, numbering close to a thousand. While many of his songs mined relatively conventional topics such as love, Paris, and nostalgia for his younger days, what set Trenet's songs apart were their personal, poetic, sometimes quite eccentric qualities, often infused with a warm wit.

Some of his songs had unconventional subject matter, with whimsical imagery bordering on the surreal. "Y'a d'la joie" evokes joy through a series of disconnected images, including that of a subway car shooting out of its tunnel into the air, the Eiffel Tower crossing the street and a baker making excellent bread. The lovers engaged in a minuet in "Polka du Roi" reveal themselves at length to be "no longer human": they are made of wax and trapped in the Musée Grévin. Many of his hits from the 1930s and 1940s effectively combine the melodic and verbal nuances of French song with American swing rhythms.
https://en.wikipedia.org/wiki/Charles_Trenet

The song:
"La Mer" (English: "The Sea") is a song credited to French composer, lyricist, singer and showman Charles Trenet. The song was first recorded by the French singer Roland Gerbeau in 1945. It was not until 1946 that Trenet recorded his own version. When it was released in 1946, it became an unexpected hit, and has remained a chanson classic and jazz standard ever since.
Trenet said that he had written an initial version of the song's lyrics as a poem at the age of 16, many years before he came up with a tune for it. The tune came to him while he was traveling by train in 1943 between Montpellier and Perpignan as he was gazing out of the window at the Étang de Thau, a lagoon in the south of France. He jotted it down on a piece of paper and in the afternoon he worked out the details with his pianist Léo Chauliac. That evening they performed it in front of an audience without much of an impact.

The song was not recorded before the end of World War II. It was first offered to Suzy Solidor, who, however, declined it. After that the job fell to Roland Gerbeau, who recorded it together with Jo Bouillon's orchestra at the end of 1945. The orchestration and chorus were provided by Albert Lasry. Trenet himself recorded his song for the first time in 1946.

Over the years the song turned out to be rather popular throughout the world and developed into a chanson classic and jazz standard with a large number of prominent artists recording their own versions. Besides the original in French the song was also recorded in several other languages with the English version "Beyond the Sea" being particularly popular and becoming the signature song for the American singer Bobby Darin. In 1966 there were already over 100 different recordings of La Mer and it was considered to be France's best selling song together with Edith Piaf's "La Vie en rose". By the time of Trenet's death in 2001 there were supposedly more than 4000 different recordings of it with over 70 million copies sold in total.

Despite various translations into other languages the original French version was popular outside France and with non-French musicians as well. Trenet published his recording in the US in 1947 and Bing Crosby recorded La Mer on his 1953 album Le Bing: Song Hits of Paris.

Charles Trenet's recording of 'La Mer' is choreographed in Matthew Bourne's 1989 ballet suite, Infernal Galop, "a French dance with English subtitles", in which a merman seduces three matelots.

The song was also recorded by Cliff Richard. In 1976 Julio Iglesias included the song on his live album En el Olympia. The song was included on Dalida's 1999 posthumous album Besame Mucho. Demis Roussos included the song on his 1995 studio album Immortel.

More recent versions include Kristina & Laura, Miguel Bosé, Manlio Sgalambro, Lisa del Bo, Biréli Lagrène, Patricia Kaas, Lola Dutronic, Mireille Mathieu and others.

Instrumental versions were done by Ray Conniff His Orchestra and Chorus, Le Grand Orchestre de Paul Mauriat, Richard Clayderman, Django Reinhardt.
Original by Gerbeau:
https://www.youtube.com/watch?v=-kmx8iReFyc
Live by Trenet:
https://www.youtube.com/watch?v=PXQh9jTwwoA
Django Reinhart:
https://www.youtube.com/watch?v=tgNQ4FR6Me8
The Shadows:
https://www.youtube.com/watch?v=UH5cVBLvN5M
Nine Inch Nails:
https://www.youtube.com/watch?v=UB_GbMQftkA
Bobby Darin:
https://www.youtube.com/watch?v=m8OlDPqYBLw
Luca Aquino:
https://www.youtube.com/watch?v=uvtj8yi3B_8

La mer
qu'on voit danser le long des golfes clairs
a des reflets d'argent,
la mer,
des reflets changeants
sous la pluie.

La mer
au ciel d'été confond
ses blancs moutons
avec les anges si purs,
la mer bergère d'azur
infinie.

Voyez,
près des étangs,
ces grands roseaux mouillés.
Voyez,
ces oiseaux blancs
et ces maisons rouillées.

La mer
les a bercés
le long des golfes clairs
et d'une chanson d'amour,
la mer
a bercé mon cœur pour la vie.

The Sea
That we see dance along the clear-water bays
Shows silver reflections
The sea
Reflections that change
In the rain

The sea
With summer skies...confounds
It's white sheep
With the angels, so pure... the sea
Shepherdess of blue...through infinity.

Behold
So near the ponds
The tall watery reeds
Behold
Her birds of white
And her rusted abodes

The sea
Did gently sway
Them all along it's clear bays
And with a song of love
The sea
Has cradled my heart for a lifetime.

Thanks to mybusiness_52@hotmail .com on LyricsTranslate.

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Romain
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Re: France - One song per day.

Post by Romain » Tue Feb 05, 2019 1:31 pm

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 13 Ernest Chausson - Concert pour violon, piano et quatuor à cordes en Ré majeur op.21 - Sicilienne - 1892 - 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 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 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 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 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 25 Michel Simon - Mémère - 1959

Page 1 Bourvil - C'était bien (au petit bal perdu) - 1960
Page 4 Juliette Gréco - Il n'y a plus d'après - 1960
Page 13 Gilian Hills - Zou bisou bisou - 1960
Page 23 André Hodeir - Jazz et Jazz - 1960 - Jazz
Page 6 Edith Piaf - Non, je ne regrette rien - 1960 
Page 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 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 10 Francis Poulenc - Sonate pour clarinette, 2ème mouvement : Romanza - 1962 - Classical
Page 4 Salvatore Adamo - Tombe la neige - 1963
Page 9 Alain Barrière - Elle était si jolie - 1963
Page 21 Patricia Carli - Demain, tu te maries - 1963
Page 6 Georges Delerue - Le Mépris - Camille - 1963 - OST
Page 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 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 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 4 Claude François - Comme d'habitude - 1968
Page 33 Serge Gainsbourg et Brigitte Bardot - Bonnie & Clyde - 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 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 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 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 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 6 Areski Belkacem - C'est normal - 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 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 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 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 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 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 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 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 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 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 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 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 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 34 Richard Desjardins - Les Yankees - 1988
Page 9 Les Garçons Bouchers - Carnivore - 1988
Page 12 Gipsy King - Djobi Djoba - 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 23 Tristan - Bonne bonne humeur ce matin - 1988
Page 21 Dominic Sonic - When My Tears Run Cold - 1989
Page 15 Jad Wio - Ophélie - 1989
Page 23 Maurane - Toutes les mamas - 1989
Page 1 Richard Gotainer - Le Combat De Rock - 1989 
Page 3 Zouk Machine - Maldòn (La musique dans la peau) - 1989

Page 21 Michel Berger - Le paradis blanc - 1990
Page 18 Elmer Food Beat - Daniela - 1990
Page 7 Pauline Ester - Oui, je l'adore - 1990
Page 12 Liane Foly - Au fur et à mesure - 1990
Page 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 21 Dolly - Je n'veux pas rester sage - 1997
Page 6 Era - Ameno - 1997
Page 21 Faudel - Tellement je t'aime - 1997
Page 12 Laurent Garnier - Crispy Bacon - 1997 - Electro
Page 10 La Tordue - lola - 1997
Page 20 Les Ogres de Barback - Rue de Panam - 1997
Page 1 Louise Attaque - J't'emmène au vent - 1997
Page 16 Massilia Sound System - Brûle ces papiers - 1997
Page 16 Ménélik - Je me souviens - 1997
Page 19 No One Is Innocent - Nomenklatura - 1997
Page 10 Florent Pagny - Savoir aimer - 1997
Page 17 Rachid Taha - Ya Rayah - 1997
Page 12 Air - Sexy Boy - 1998 - Electro
Page 10 René Aubry - La Grande Cascade - 1998 - Classical
Page 25 Autour de Lucie - Sur tes pas - 1998
Page 5 Alain Bashung - La nuit je mens - 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 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 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 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 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 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 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 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 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
Page 3 Cascadeur - Walker - 2011
Page 31 Michel Cloup (Duo) - Le cercle parfait - 2011
Page 13 Déportivo - Ivres et débutants - 2011
Page 6 M83 - Midnight City - 2011 - Electro
Page 18 Ibrahim Maalouf - Beirut - 2011 - Jazz
Page 17 Izïa Higelin - So much trouble - 2011
Page 21 Le Sacre du Tympan - Plurabella's walk - 2011
Page 19 Oldelaf - La Tristitude - 2011
Page 2 Orelsan - Suicide Social - 2011
Page 18 SebastiAn - Embody - 2011 - Electro
Page 28 Tiwony - Mon continent - 2011
Page 16 Arne Vinzon - Lente dépression - 2011
Page 23 Aline - Je bois, et puis je danse - 2012
Page 11 Bertrand Burgalat - Bardot's Dance - 2012
Page 9 C2C - Down The Road - 2012 - Electro
Page 8 Barbara Carlotti - L'amour, l'argent, le vent - 2012
Page 21 Cobra - Nihilistes - 2012
Page 19 Andy Emler - Good Games - 2012 - Jazz
Page 16 Gojira - L'enfant sauvage - 2012
Page 15 Klub Des loobers - Volutes - 2012
Page 24 Lescop - La forêt - 2012
Page 33 Bruno Mantovani - Jeux d'eau - 2012 - Classical
Page 27 Zoufris Maracas - Et ta mère - 2012
Page 33 Renart - Au matin, la mort de l'astre - 2012 - Electro
Page 21 Philippe Rombi - Dans la maison - Theme - 2012 - OST
Page 28 Rone - Bye Bye Macadam - 2012 - Electro
Page 9 Rover - Aqualast - 2012
Page 33 Skip The Use - Ghost - 2012
Page 1 Sébastien Tellier - Cochon Ville - 2012
Page 29 Margaux Avril - C'était la nuit - 2013
Page 32 Cliché - Hélicon - 2013
Page 22 Jabberwocky - Photomaton - 2013 - Electro
Page 15 Jérôme Echenoz - Le chrome et le coton - 2013
Page 10 Fauve ≠ - Blizzard - 2013
Page 25 La Belle Bleue - Les elephants du Morimondo - 2013
Page 13 La Femme - Sur la planche 2013 - 2013
Page 16 Indila - Dernière Danse - 2013
Page 29 Kaaris - Zoo - 2013
Page 32 Laurent Lamarca - Taxi - 2013
Page 32 La Maison Tellier - Sur un volcan - 2013
Page 27 Thierry Maillard Trio - La côte sauvage - 2013 - Jazz
Page 7 Mendelson - D'un coup - 2013
Page 1 Moodoïd - De Folie Pure - 2013
Page 29 Necrowretch - Putrid Death Sorcery - 2013
Page 27 Oiseaux-Tempête - Ouroboros - 2013
Page 9 Petit Fantôme - Peio - 2013 - Electro
Page 27 Talisco - The Keys - 2013
Page 27 Woodkid - Iron - 2013
Page 4 Zaz - On ira ! - 2013
Page 32 Daniel Zimmermann - Flying Pachydermes - 2013 - Jazz
Page 26 Black M - Sur ma route - 2014
Page 31 Brigitte - A bouche que veux-tu - 2014
Page 15 Christine and The Queens - Christine - 2014
Page 20 Dabeull - TR 707 - 2014 - Electro
Page 31 Leïla Huissoud - Le bistrot - 2014
Page 29 Etienne Jaumet - La visite - 2014 - Electro & Jazz
Page 6 Dorian Pimpernel - OVLAR E - 2014
Page 25 Emile Parisien - Hysm - 2014 - Jazz
Page 15 Forever Pavot - Les cigognes nénuphars - 2014
Page 23 Adrien Gallo - Monokini - 2014
Page 21 Marina Kaye - Homeless - 2014
Page 27 MOOON - Neptune - 2014 - Electro
Page 19 Mustang - Le sens des affaires - 2014
Page 10 Shaka ponk - Story O' my LF - 2014
Page 11 Lilly Wood & The Prick - Prayer in C - 2014
Page 8 Kid Francescoli - Blow Up - 2014
Page 10 Charles Pasi - Better with butter - 2014 - Jazz
Page 34 Tiwony Ft. Typical Féfé, Straïka D - Avec Du Love - 2014
Page 14 The Avener - Fade Out Lines - 2014 - Electro
Page 32 Cléa Vincent - Château perdu - 2014
Page 28 Armand Amar - Human - The storm - 2015 - OST
Page 24 Bertrand Belin - Le mot juste (Le beau geste) - 2015
Page 19 Jac Berrocal - Solaris - 2015 - Jazz
Page 30 L'impératrice - Vanille Fraise - 2015
Page 23 Jain - Come - 2015
Page 27 Marvin Jouno - Quitte à me quitter - 2015
Page 20 Feu! Chatterton - La Malinche - 2015
Page 28 Jacques - Tout est magnifique - 2015 - Electro
Page 34 Jean Tonique - Near You - 2015 - Electro
Page 14 Bastien Lallemant - Un million d'années - 2015
Page 18 Bachar Mar-Khalifé - Kyrie Eleison - 2015
Page 31 Ofenbach - Be mine - 2016
Page 30 Maître Gims - Sapé comme jamais - 2015
Page 32 Lisa Urt - La voix du bonheur - 2015 - Jazz
Page 30 Agar Agar - Prettiest Virgin - 2016
Page 23 Juliette Armanet - Manque d'amour - 2016
Page 35 Calypso Valois - Le jour - 2016
Page 24 Facteurs Chevaux - Les dames de pluie - 2016
Page 30 Hadouk Trio - Le matin du Faune - 2016 - Jazz
Page 25 Kery James - Racailles - 2016
Page 31 The Limiñanas - Prisunic - 2016
Page 25 Guillaume Perret - Heavy Dance - 2016 - Jazz & Electro
Page 33 PNL - DA - 2016
Page 28 Séverin - Contrôle ta samba - 2016
Page 26 Sidabitball - JellyFish - 2016 - Electro
Page 33 Sidilarsen - Spread It - 2016
Page 34 Bigflo & Oli - Dommage - 2017
Page 30 Les discrets - Le reproche - 2017
Page 30 Eddy de Pretto - Fête de trop - 2017
Page 34 Fishbach - Un autre que moi - 2017
Page 32 Christophe Julien - Au revoir là-haut - Bon voyage, soldat Maillard - 2017 - OST
Page 32 Madame Guillotine - Cao Bang - 2017
Page 32 Johnny Hallyday - J'en parlerai au diable - 2018
Page 33 Arnaud Le Gouëfflec - La Faveur de la nuit - 2018
Page 32 Aya Nakamura - Djadja - 2018

Before 50's 92
50's 25
60's 123
70's 120
80's 122
90's 120
00's 117
10's 116
835


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Romain
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Re: France - One song per day.

Post by Romain » Wed Feb 06, 2019 11:49 am

Natural Snow Buildings - Sun Tower - 2015
Drone, Psychedelic Folk, Avant-Folk, Free Folk, Post-Rock, Ambient

Album : Terror's Horns (RYM: 3.30/5)


Wikipédia:
Natural Snow Buildings is a duo from France, consisting of artists Mehdi Ameziane and Solange Gularte. They play music which can be classified as experimental psychedelic folk with drone elements and ambient influences. Formed in 1997, they released numerous albums, many of them in extremely limited quantities.

Both members of Natural Snow Buildings release music also as solo artists: Mehdi Ameziane as TwinSisterMoon and Solange Gularte as Isengrind.

The beginnings of Natural Snow Buildings can be traced back to 1997, at a Paris university. They met in their school library where a film was playing. Mehdi had been invited to a party that evening but declined and headed to the library instead. After their first meeting, the two saw more of each other. Although Mehdi could play a bit of guitar and Solange was a classically trained musician, the two had not yet begun making music.

It was in May 1998 that the two officially started their band and began home recording their music. They self-released two cassettes, Witch-Season and Two Sides of a Horse in 1999 and 2000, and in 2001 recorded Ghost Folks, released in 2003. Then, they self-released a double CD, The Winter Ray, in a limited edition, and, after moving from Paris to Vitré, Brittany in 2004, recorded The Dance of the Moon and the Sun (released in 2006). They then each issued solo material before producing more material as a duo.

Most of their albums have only been released in small numbers, often in hand-crafted limited editions. Their work has been compared with such bands as Popol Vuh, Flying Saucer Attack, and Tower Recordings. They make many references to the horror film genre in their songtitles; for example Santa Sangre (with the track 'Santa Sangre Part I & II' on 'Daughter of Darkness'), The Blair Witch Project (The track 'Mary Brown' on 'Dance of the Moon and the Sun' is a reference to a character from this film) and director John Carpenter (a track on 'Dance of the Moon and the Sun').

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Re: France - One song per day.

Post by Romain » Fri Feb 08, 2019 1:44 pm

Next song.

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Re: France - One song per day.

Post by Romain » Fri Feb 08, 2019 1:56 pm

Daft Punk - Da Funk - 1997 - Electro
House

Album : Homework (RYM: 3.47/5)

Wikipédia:
Daft Punk are a French electronic music duo formed in Paris in 1993 by Guy-Manuel de Homem-Christo and Thomas Bangalter. They achieved popularity in the late 1990s as part of the French house movement, and had success in the years following, combining elements of house music with funk, techno, disco, rock, and synthpop. They have worn ornate helmets and gloves to assume robot personas in most public appearances since 1999 and rarely grant interviews or appear on television. The duo were managed from 1996 to 2008 by Pedro Winter (also known as Busy P), the head of Ed Banger Records.

After Bangalter and Homem-Christo's indie rock band Darlin' disbanded, they began experimenting with drum machines and synthesisers. Their debut studio album Homework was released by Virgin Records in 1997 to positive reviews, backed by singles "Around the World" and "Da Funk". Their second album, Discovery, had further success, supported by hit singles "One More Time", "Digital Love" and "Harder, Better, Faster, Stronger". In March 2005, Daft Punk released their third album, Human After All, to mixed reviews, though the singles "Robot Rock" and "Technologic" achieved success in the United Kingdom. Daft Punk toured throughout 2006 and 2007 and released the live album Alive 2007, which won a Grammy Award for Best Electronic/Dance Album. They composed the score for the film Tron: Legacy, which was released in 2010 alongside its soundtrack album.

In 2013, Daft Punk left Virgin for Columbia Records, and released their fourth album, Random Access Memories, to acclaim; lead single "Get Lucky" reached the top 10 in the charts of 32 countries. Random Access Memories won five Grammy Awards in 2014, including Album of the Year and Record of the Year for "Get Lucky". In 2016, Daft Punk gained their first number one on the Billboard Hot 100 with the song "Starboy", a collaboration with The Weeknd. As of 2007, Daft Punk had sold over 7 million albums worldwide.

The song:
"Da Funk" is an instrumental track by Daft Punk initially released as a single in 1995 and later included on their debut album Homework. "Da Funk" and its accompanying video directed by Spike Jonze are considered classics of 1990s house music. A reversed clip of "Da Funk" was also released on Homework as "Funk Ad", which is the final track on the album.

"Da Funk" was initially released as a 12 inch single in 1995 under the Soma Quality Recordings label, with the B-side "Rollin' & Scratchin'". The pressing was limited to 2,000 copies and was "virtually ignored" according to a Muzik magazine feature at the time. The single received a boost in popularity when The Chemical Brothers incorporated it into their live shows. Subsequently the British duo's song "Life Is Sweet" was remixed by Daft Punk for a single release in August 1995.

Daft Punk eventually signed with Virgin Records in late 1996 after a bidding war amongst several labels. "Da Funk" was re-released by Virgin with the B-side "Musique", a track that later appeared on the anthology Musique Vol. 1 1993–2005. The duo's debut album Homework features "Da Funk" as well as a reversed excerpt titled "Funk Ad". Daft Punk expressed that they wanted to make the album balanced by distributing tracks evenly across each of the four vinyl sides.

"Da Funk" went on to sell 30,000 copies in 1997. The prominent French club magazine Coda named it the number one single with 33 percent of the vote. In September 2010 Pitchfork Media included the song at number 18 on their Top 200 Tracks of the 90s. In 2011, the song was featured in the video games Top Spin 4 and Ubisoft's Just Dance 3. And in 2012, NME listed the song in the "100 Best Songs of the 1990s" at number 8.

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Re: France - One song per day.

Post by Romain » Mon Feb 11, 2019 1:54 pm

Next song.

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Re: France - One song per day.

Post by Romain » Mon Feb 11, 2019 2:01 pm

Pneu - Catadioptre Ambidextre - 2015
Math Rock, Noise Rock, Post-Hardcore

Album: Destination Qualité (RYM: 3.03/5)

Metalorgie (DeepL translate)
Trained by necessity to set up a support band during Gâtechien's time in Tours, Pneu is now releasing his first album after just over a year of existence. The duo (composed of the drummer from Canadair and Whale and the guitarist from Apollo Kreed) perform dates with Envy and Nomeansno before travelling the roads of France with only a handful of tracks in their pockets. Playing in the middle of the audience like Lightning Bolt, Les Tourangeaux relies on a melodic and direct approach to differentiate themselves from a growing Math Rock scene.
A first object was released in 2006 (Pince Crocodile) and immediately installed Pneu's nonchalant and disconnected personality.
In 2008, Pince Monseigneur, the first real album that will make the duo explode, bringing dates wherever it is possible to play. This is followed by a split with Revok in 2009, then another with Nervous Kid in 2010, as well as a bold association with three other formations extracted from our basements (Tiger Paper, Marvin and Electric Electric) carried out under the name La Colonie de Vacances. A colony started as a meeting between friends on a few dates, transformed into quadriphonic concerts over time. From this meeting, a split-cd and a DVD will be released.

Pneu is coming back in 2011 with Highway To Health and is offering the services of Kurt Ballou (Converge) in production, as well as the participation of Eugene S. Robinson (Oxbow) on a title. The duo then turns as if their life depended on it (which is a little bit the case as a precarious musician) and will take its time to release Destination Qualité at the beginning of 2015, produced by Andrew Schneider (Sofy Major, Unsane), this time inviting Pete Simonelli (Enablers) on a track, and tending towards more experiments, still on Head Records.



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Re: France - One song per day.

Post by Romain » Wed Feb 13, 2019 1:42 pm

Next song.

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Re: France - One song per day.

Post by Romain » Wed Feb 13, 2019 1:52 pm

Claude Nougaro - Le cinéma - 1962
Chanson à texte, Vocal Jazz, Chanson

Album: Le cinéma/Claude Nougaro ( RYM: 3.69/5)

Musique: Michel Legrand

Wikipédia:
Claude Nougaro (9 September 1929 – 4 March 2004) was a French songwriter and singer.

Claude Nougaro was born in Toulouse to a respected French opera singer, Pierre Nougaro, and a piano teacher, Liette Tellini. His maternal grandparents were Italian; his grandfather was born in Livorno, Tuscany and his grandmother in San Damiano d'Asti, Piedmont. He was raised by his grandparents in Toulouse where he heard Glenn Miller, Édith Piaf and Louis Armstrong (among others) on the radio. In 1947 he failed his baccalaureat and began a career in journalism, writing for various journals including Le Journal des Curistes at Vichy and L'Echo d'Alger. At the same time he wrote songs for Marcel Amont ("Le barbier de Belleville", "Le balayeur du roi") and Philippe Clay ("Joseph", "La sentinelle"). He met Georges Brassens, who became his friend and mentor.

In 1949, he performed his military service in the Foreign Legion at Rabat, Morocco.

He sent his lyrics to Marguerite Monnot, Édith Piaf's songwriter, who put them to music. ("Méphisto", "Le Sentier de la guerre"). He started to sing for a livelihood in 1959 in a Parisian cabaret in Montmartre, the Lapin Agile.

In 1962, he decided to sing his works himself: "Une petite fille" and "Cécile ma fille" (dedicated to his daughter, born in 1962, and to his wife Sylvie, whom he met at the Lapin Agile). These songs made him immediately known to a larger public, which he had already started to penetrate by participating in the concerts of Dalida. A car accident immobilised him for several months in 1963. The following year he travelled to Brazil, and sang in prestigious halls: the Olympia and the Théâtre de la Ville in Paris, and the Palais d'Hiver in Lyon. Following the death of his friend Jacques Audiberti in 1965 Nougaro wrote, in homage, the song "Chanson pour le maçon". The events of May 1968 inspired him to the torrential "Paris Mai", a plea for life, which would be banned from the airwaves. The same year he recorded his first live album at the Olympia: Une soirée avec Claude Nougaro.

His career continued normally, punctuated by success: Le jazz et la java, Tu verras, Île de Ré, Armstrong, Toulouse, Petit taureau. But in 1984, his recording company did not renew his contract. Nougaro left for New York, seeking inspiration, and while there wrote and recorded a self-financed disc, Nougayork, whose resounding success was a surprise. In 1988 Victoires de la musique rewarded him with "best album" and "best artist", and between 1993 and 1997 he released three new albums.

His health deteriorated after 1995, when he underwent a heart operation. In 2003, his condition left him unable to appear at the Festival du Verbe at Toulouse. From 1998 to 2004 he devoted himself more to concerts and festivals, apart from an album in aid of children suffering from AIDS. Having undergone further surgery in early 2004, he died of cancer in March, at the age of 74.
With Michel Legrand:
https://www.youtube.com/watch?v=yCnU3C1ExNE

Sur l'écran noir de mes nuits blanches
Moi je me fais du cinéma
Sans pognon et sans caméra
Bardot peut partir en vacances :
Ma vedette, c'est toujours toi

Pour te dire que je t'aime, rien à faire, je flanche :
J'ai du cœur mais pas d'estomac
C'est pourquoi je prends ma revanche
Sur l'écran noir de mes nuits blanches
Où je me fais du cinéma

D'abord un gros plan sur tes hanches
Puis un travelling-panorama
Sur ta poitrine grand format
Voilà comment mon film commence
Souriant je m'avance vers toi

Un mètre quatre-vingts,
des biceps plein les manches
Je crève l'écran de mes nuits blanches
Où je me fais du cinéma
Te voilà déjà dans mes bras

Le lit arrive en avalanche
Sur l'écran noir de mes nuits blanches
Où je me fais du cinéma
Une fois, deux fois, dix fois, vingt fois
Je recommence la séquence

Où tu me tombes dans les bras
Je tourne tous les soirs,
y compris le dimanche
Parfois on sonne; j'ouvre : c'est toi !
Vais-je te prendre par les hanches
Comme sur l'écran de mes nuits blanches ?
Non, je te dis : « Comment ça va ? »
Et je t'emmène au cinéma.

On the pictureless screen of my sleepless nights1
I shoot my own fantasies2
with no money nor camera.
Bardot3 can take a break,
you are my only star.

No matter how hard I try, no way I can tell you I love you.
I've got plenty of heart but little guts,
that's why I take revenge
on the pictureless screen of my sleepless nights,
where I shoot my own fantasies.

First, a close-up on your hips,
then a travelling panorama
on your king size breasts,
that's how my movie starts.
A smile on my face, I step toward you.

Six feet tall,
my sleeves bulging with muscles,
I'm the peerless star4 of my sleepless nights
when I shoot my own fantasies.
You soon end up in my arms.

The bed comes like an avalanche
on the pictureless screen of my sleepless nights
where I shoot my own fantasises.
Once, twice, ten, twenty times
I shoot the same sequence

where you fall into my arms.
I shoot every night,
even on sundays.
Sometimes the doorbell rings. I open the door, it's you!
Will I grab you by the hips,
like on the screen of my sleepless nights?
I won't. I just say "how are you doing?"
and take you to the flicks.

1. a sleepless night is called a "white night" in French, making for a nice pun on "black screen". I could only try to match it by repeating "less". Not nearly as good as the original I'm afraid.
2. "se faire du cinéma" ("make oneself some cinema") means "delude oneself", especially about a romantic relationship
3. Brigitte Bardot, as famous a sex symbol in France as Marilyn Monroe in the US
4. "punching through the screen" means having a great presence
Thanks to ingirumimusnocte on LyricsTranslate.

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Romain
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Re: France - One song per day.

Post by Romain » Sat Feb 16, 2019 4:07 pm

Next song.

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Re: France - One song per day.

Post by Romain » Sat Feb 16, 2019 4:16 pm

Pijon - Cache cache party - 1986

Jérôme Pijon is a French singer.

Born Jerôme Pigeon, son of journalist Gilles Schneider, he attended music classes with Mireille du Conservatoire. He is known for having composed and written the hit Cache cache party, released in 1986. In 1987, Jérôme also participated in the recording of Étienne Daho's 4th album in London. In the early 90s, he composed several songs for his then girlfriend, Nina Morato. Jérôme continued his career in music, then in 1995, released the single Miniman, extracted from an album released later that year, Au Pays Des Orties. He is currently a DJ at La Favela Chic under the pseudonym Gringo da Parada, a Parisian bar-restaurant with which he is associated.

Soleil de cristal
Soudain se déchire
Douleurs écarlates et soupirs
Atlantique avait peur des vampires

Soleil de cristal
Doucement s'est couché
Sur un ciel de sang et d'or
Un éclair a transpercé son corps

Bouche à bouche
Croque une chair
Corps à corps
En courant d'air
Pas vu pas pris
Cache cache party

Les vampires vont-ils en enfer ?
Atlantique a peur de s'y plaire

Soleil de cristal
Cette fois est bien mort
Bonheur froid et remords glacés
Un voile éphémère s'est envolé

Soleil de cristal
Plus jamais dormir
Insomnies perverses et soupirs
Atlantique n'a plus peur des vampires

Bouche à bouche
Croque une chair
Corps à corps
En courant d'air

Les vampires vont-ils en enfer ?
Atlantique a l'air de s'y plaire

Atlantique a l'air de s'y plaire

Bouche à bouche
Croque une chair
Corps à corps
En courant d'air
Pas vu pas pris
Cache cache party

A crystal sun
suddenly ripped apart.
Crimson pains and sighs.
Atlantique1 was afraid of vampires.

A crystal sun
has set quietly
on a blood and gold sky.
A lightning has transfixed her body.

Mouth to mouth
Biting a flesh2
Close combat3
in a gust of wind.
No evil seen, no evil done4
Hide-and-seek party

Do vampires go to hell?
Atlantique is afraid to like it there.

A crystal sun
is dead and gone this time.
Cold happiness and icy remorses.
A fleeting veil has flown away.

A crystal sun
No more sleep, ever
Perverse insomnia and sighs.
Atlantique is no longer afraid of vampires.

Mouth to mouth
Biting a flesh
Close combat
in a gust of wind.

Do vampires go to hell?
Atlantique seems to like it there.

Atlantique seems to like it there.

Mouth to mouth
Biting a flesh
Close combat
in a gust of wind.
No evil seen, no evil done
Hide-and-seek party

1. pretty weird first name. "Océane" is somewhat trendy nowadays but probably wasn't back in the 80's
2. that sounds a bit like "rocking chair" with a thick enough French accent!
3. lit. "body to body"
4. lit. "not seen, not caught". A very common idiom for getting away with a nasty deed if you were inconspicuous enough
Tanks to lyrics Translate.

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Re: France - One song per day.

Post by Romain » Mon Feb 18, 2019 11:28 am

Next song.

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Re: France - One song per day.

Post by Romain » Mon Feb 18, 2019 11:41 am

Erik Satie - Gnossienne n°1 - 1890 - Classical

Wikipédia:
Composer:
Éric Alfred Leslie Satie (French: [eʁik sati];[1] 17 May 1866 – 1 July 1925), who signed his name Erik Satie after 1884, was a French composer and pianist. Satie was a colourful figure in the early 20th-century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, Surrealism, repetitive music, and the Theatre of the Absurd.

An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds"), preferring this designation to that of "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911.

In addition to his body of music, Satie was "a thinker with a gift of eloquence" who left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American culture chronicle Vanity Fair. Although in later life he prided himself on publishing his work under his own name, in the late 19th century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.
https://en.wikipedia.org/wiki/Erik_Satie


Music:
The Gnossiennes (French pronunciation: ​[ɡnosjεn]) are several piano compositions written by the French composer Erik Satie in the late 19th century. The works are for the most part in free time (lacking time signatures or bar divisions) and highly experimental with form, rhythm and chordal structure. The form as well as the term was invented by Satie.

Satie's coining of the word gnossienne was one of the rare occasions when a composer used a new term to indicate a new "type" of composition. Satie used many novel names for his compositions (vexations, croquis et agaceries and so on). Gnossienne, was a word that did not exist before Satie used it as a title for a composition. The word appears to derive from gnosis. Satie was involved in gnostic sects and movements at the time that he began to compose the Gnossiennes. However, some published versions claim that the word derives from Cretan "knossos" or "gnossus"; this interpretation supports the theory linking the Gnossiennes to the myth of Theseus, Ariadne and the Minotaur. Several archeological sites relating to that theme were famously excavated around the time that Satie composed the Gnossiennes.


The Gnossiennes were composed by Satie in the decade following the composition of the Sarabandes (1887) and the Trois Gymnopédies (1888). Like these Sarabandes and Gymnopédies, the Gnossiennes are often considered dances. It is not certain that this qualification comes from Satie himself – the sarabande and the Gymnopaedia were at least historically known as dances.

The musical vocabulary of the Gnossiennes is a continuation of that of the Gymnopédies (a development that had started with the 1886 Ogives and the Sarabandes) later leading to more harmonic experimentation in compositions like the Danses gothiques (1893). These series of compositions are all at the core of Satie's characteristic late 19th century style, and in this sense differ from his early salon compositions (like the 1885 "Waltz" compositions published in 1887), his turn-of-the-century cabaret songs (Je te veux), and his post-Schola Cantorum piano solo compositions, starting with the Préludes flasques in 1912.



These Three Gnossiennes were composed around 1890 and first published in 1893. A revision prior to publication in 1893 is not unlikely; the 2nd Gnossienne may even have been composed in that year (it has "April 1893" as date on the manuscript). The piano solo versions of the first three Gnossiennes are without time signatures or bar lines, which is known as free time.

These Gnossiennes were first published in Le Figaro musical No. 24 of September 1893 (Gnossiennes Nos. 1 and 3, the last one of these then still "No. 2") and in Le Cœur No. 6–7 of September–October 1893 (Gnossienne No. 2 printed as facsimile, then numbered "No. 6").

The first grouped publication, numbered as known henceforth, followed in 1913. By this time Satie had indicated 1890 as composition date for all three. The first Gnossienne was dedicated to Alexis Roland-Manuel in the 1913 reprint. The 1893 facsimile print of the 2nd Gnossienne contained a dedication to Antoine de La Rochefoucauld, not repeated in the 1913 print. This de La Rochefoucauld had been a co-founder of Joséphin Péladan's Ordre de la Rose-Croix Catholique et Esthetique du Temple et du Graal in 1891. By the second publication of the first set of three Gnossiennes, Satie had broken already for a long time with all Rosicrucian type of endeavours.

Also with respect to the tempo these Gnossiennes follow the Gymnopédies line: slow tempos, respectively Lent (French for Lento/slow), avec étonnement ("with astonishment"), and again Lent.

A sketch containing only two incomplete bars, dated around 1890, shows Satie beginning to orchestrate the 3rd Gnossienne.

The first and third Gnossiennes share a similar chordal structures, rhythm and share reference to each other's thematic material.

The Gnossiennes Nos. 4–6 were published only in 1968, long after Satie's death. None of these appear to have been numbered, nor even titled as "Gnossienne" by Satie himself. The sequence of these three Gnossiennes in the 1968 publication by Robert Caby does not correspond with the chronological order of composition. It is extremely unlikely that Satie would have seen these compositions as three members of a single set.

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Re: France - One song per day.

Post by Romain » Wed Feb 20, 2019 1:56 pm

Next song.

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Re: France - One song per day.

Post by Romain » Wed Feb 20, 2019 2:04 pm

Nicolas Peyrac - Et mon père - 1975
Chanson, pop

Wikipédia:
Nicolas Peyrac (born 6 October 1949 in Rennes as Jean-Jacques Tazartez) is a French musician, writer and photographer.

Jean-Jacques spent his youth in the small town of Saint-Brice-en-Coglès in Brittany together with his brothers and parents, both of whom were physicians. As a youngster, not partial to the advance of rock 'n' roll, he had a passion for Ferré and Brel. When his parents divorced in the early 1960s, he went to live with his mother in New York, allowing him to broaden his musical horizon and discover American music. While studying at the Lycée français, he learned to play the guitar. After returning to France to live with his father, he entered a TV talent show but was unsuccessful. Refusing to let him live the life of a "vagabond", his parents pressured him into studying medicine.

During his studies he discovered a passion for photography, which brought him into contact with the music business: through a family friend he had a chance to make record sleeves for artists like Alice Dona, Hervé Vilard and Gilbert Bécaud. The latter introduced him to producer Patrick Legrand (brother of composer Michel Legrand), to whom he showed some lyrics he had written. This started his career as a songwriter, writing for artists like Marie Laforêt and Gérard Lenorman. Soon after he signed a contract with Pathé-Marconi.

In 1974, Jean-Jacques, now using the stage name Nicolas Peyrac, released his first two singles, but to limited or no success.

Just when he was about to lose his record deal with Pathé due to failure of success, Nicolas released the critically acclaimed 1975 song So far away from L.A., which made him an overnight star. Dropping his medical studies almost near the end (in his sixth year), he concentrated on his musical career, releasing his next hit song Et mon père ("And my father") for which he received a 'French Grammy', the prix de l’UNAC. Within a few months, he became part of the most talented musicians of his generation.

Continuing the 1975 success, Nicolas released several albums, and was supporting act for stars like Serge Lama, Marie-Paule Belle et Dalida. He also regularly headlined, taking him all the way to Japan.

After the death of his mother in 1978, to whom he dedicated his fifth album J't'aimais, j'ai pas changé ("I loved you, I haven't changed"), Nicolas continued touring and releasing albums, but the times of hit records seemed a thing of the past. Although writing songs for stars like Johnny Hallyday and Plácido Domingo, his own career lost ground, and by the mid-eighties he focused on different passions, writing novels and directing. At the end of the eighties, Nicolas faced a relational crisis and professional difficulties, and he fell into a severe depression, abandoning the music scene and failing to finish his novel and songs he was writing.
Quand vous dansiez en ce temps-là,
Pas besoin de pédale wah-wah.
C'était pas la bossa nova
Mais ça remuait bien déjà.
Les caves étaient profondes
Et la ronde ne s'arrêtait pas.
Un vieux piano bastringue
Et les dingues
Tournoyaient déjà.

Et Juliette avait encore son nez.
Aragon n'était pas un minet.
Sartre était déjà bien engagé.
Au Café de Flore, y avait déjà des folles
Et mon père venait de débarquer.
Il hantait déjà les boutiquiers.
Dans sa chambre, on croquait du café.
Il ignorait qu'un jour, j'en parlerais.

Quand vous flirtiez en ce temps-là,
Vous vous touchiez du bout des doigts.
La pilule n'existait pas.
Fallait pas jouer à ces jeux-là.
Vous vous disiez "je t'aime",
Parfois même
Vous faisiez l'amour.
Aujourd'hui, deux salades,
Trois tirades
Et c'est l'affaire qui court.

L'oncle Adolf s'était déjà flingué.
Son Eva l'avait accompagné,
Des fois qu'il aurait voulu draguer:
Qui sait si, là-haut, il n'y a pas des folles
Et mon père allait bientôt planter
Cette graine qui allait lui donner
Ce débile qui essaie de chanter.
Il ignorait que viendraient mes cadets.

Quand vous chantiez en ce temps-là,
L'argent ne faisait pas la loi.
Les hit parades n'existaient pas,
Du moins, ils n'étaient pas de poids.
Tu mettais des semaines
Et des semaines,
Parfois des années.
Si t'avais pas de tripes,
Ta boutique, tu pouvais la fermer

Et Trenet avait mis des années,
Brassens commençait à en baver
Et Bécaud astiquait son clavier.
Monsieur Brel ne parlait pas encore des folles
Et mon père venait de débarquer
Là où restait quelque humanité,
Là où les gens savaient encore parler
De l'avenir... même s'ils sont fatigués.

Et Juliette avait encore son nez.
Aragon n'était pas un minet.
Sartre était déjà bien engagé.
Au Café de Flore, y avait déjà des folles
Et mon père venait de débarquer
Il hantait déjà les boutiquiers.
Dans sa chambre, on croquait du café.
Il ignorait qu'un jour, j'en parlerais.

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Re: France - One song per day.

Post by Romain » Mon Feb 25, 2019 1:50 pm

Next song.

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Re: France - One song per day.

Post by Romain » Mon Feb 25, 2019 2:00 pm

Le Superhomard - Paper Girl - 2019
Indie Pop, Chamber pop

Album: Meadow Lane Park (RYM: 3.63/5)

Artist Biography by Tim Sendra (Allmusic)
With a sound that craftily mixes from the smooth easy listening of the '50s, sophisticated continental pop of the '60s, and the bands of the '90s like the Cardigans and Stereolab who borrowed liberally from them as well, the French group Le SuperHomard displayed a warm, nostalgic glow on their 2016 debut EP, MapleKey. It landed them a deal with legendary indie pop label Elefant, which released their debut album, Meadow Lane Park, in 2019.

The band is guided by the pop vision of multi-instrumentalist/producer Christophe Vaillant, who in the early 2000s was in the power pop group the Strawberry Smell and later in the decade played in Pony Taylor. In 2015, he started work on Le SuperHomard as a solo venture but soon teamed with his drumming brother, Oliver, and vocalist Pandora Burgess for the project's first record, 2016's MapleKey EP, which was released by labels in Japan, the U.K., and the U.S. Vaillant utilized a combination of guitars and drum machines, vintage synths, and loping bass lines to craft music that showed the influence of classic songwriters like Burt Bacharach, the sonic skills of Brian Wilson, and the post-modern approach of craftspeople like Broadcast and the High Llamas. Vaillant assembled a live band and played shows starting in 2016. After signing with Spanish label Elefant, Vaillant began work on a full-length album with the help of vocalist Julie Big.
Recording after hours at the record shop where he worked, Vaillant crafted a sound that was lusher and more intricately arranged than MapleKey, while still following the same musical signposts. After first releasing the SpringTime EP in November 2018, the group's first full-length, Meadow Lane Park, was released in early 2019.

AllMusic Review by Tim Sendra
After releasing the very promising MapleKey EP in 2016, the French band Le SuperHomard were positioned as the next great band in the tradition of Stereolab, Broadcast, and the High Llamas. 2019's Meadow Lane Park makes good on that promise and should please anyone who ever loved the kind of retro-looking, futuristic-sounding pop those bands made in their prime.
With songs written, played, and produced by Christophe Vaillant, then sung by Julie Big in breathlessly soft tones, the album is a gentle musical hug that plays on nostalgic strings, but also adds something special -- and perhaps left over from his days playing power pop in the Strawberry Smell -- to the template.
Despite their rounded edges and pillowy production, the songs on the album have hooks sharp enough to draw blood. Up-tempo tracks like "Paper Girl" or the title track have a snappy strut that's almost gleeful, the bouncy mid-tempo songs have a sweet, ambling appeal -- especially the lovely "Springtime," which feels like the soundtrack for snow melting and buds appearing on trees -- and the ballads have a pocket Bacharach feel about them that's quite alluring.
The combination of the strings, vintage synths, burbling bass lines, and Big's aching vocal on "Door After Door" and "Refuel" show that the band really have a grip on how to construct a ballad for maximum sonic and emotional impact. Vaillant's skills as an arranger are evident throughout as he fills the mixes with just the right synth sound, stately piano run, clunky drum machine, or swooping organ line. It's about as lush as one could imagine, but also has a nice homemade feel, which isn't surprising considering he made the record after hours at the record shop where he works. Meadow Lane Park is unlikely to make anyone forget High Llamas or the Cardigans -- another fine band they are reminiscent of -- but any song here would sound drop-dead perfect next to them on a play list or mixtape. That's heady praise, but Le SuperHomard earn it.

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Re: France - One song per day.

Post by Romain » Wed Feb 27, 2019 10:07 am

Next song.

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Re: France - One song per day.

Post by Romain » Wed Feb 27, 2019 10:15 am

Juliette Greco - Déshabillez-moi - 1967
Chanson.

Album: La femme (RYM: 3.27/5)

Artist Biography by Caspar Salmon (Allmusic)

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

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

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

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

After a slight stalling of her recording career in the early '70s due to trouble with record companies, Gréco embarked on a third stage in her career in 1975, collaborating closely with Gérard Jouannest, the former pianist for Jacques Brel, who set many of the texts written for her to music henceforth. She married him in 1989. Further releases in the '80s ("Gréco '83") and '90s (the beautiful "Juliette Gréco") saw her experimenting still, as well as promoting new songwriters like Etienne Roda-Gil and Caetano Veloso. She released "Un Jour d'Été et Quelques Nuits" in 1998, and in 2004 her album Aimez-Vous les Uns les Autres ou Bien Disparaissez was a true return to form, featuring collaborations with young artists Miossec and Benjamin Biolay. The album Le Temps d'une Chanson was released in 2006, and Qu'on Est Bien: La Valse Brune arrived two years later. The studio effort Je Me Souviens De Tout was released in 2009; she was accompanied by her husband Gérard Jouannest on piano and Jean-Louis Matinier on the accordion. To commemorate and promote the release, the trio gave four concerts at the Théâtre des Champs-Élysées. Given her prolific catalog on various labels, numerous compilations appeared over the next several years, including the double-length Si Tu T'imagines: Le Siècle D'or from Harmonia Mundi and Chante...Gainsbourg et Les Autres! from Go Hit. She paid tribute to Jacques Brel with Gréco Chante Brel in 2014 and was the subject of a 13-disc box entitled L'essentielle the following year. In 2016, during her sold-out "Thank You" tour across Europe she had a stroke and had to cancel her remaining dates in order to recover. In 2018, at the age of 91, she began recording again.


https://www.youtube.com/watch?v=-u02lMspv_0

Mylène Farmer cover:
https://www.youtube.com/watch?v=ucV3KPIIC7Q

Déshabillez-moi
Déshabillez-moi
Oui, mais pas tout de suite
Pas trop vite
Sachez me convoiter
Me désirer
Me captiver
Déshabillez-moi
Déshabillez-moi
Mais ne soyez pas comme
Tous les hommes
Trop pressés.

Et d'abord, le regard
Tout le temps du prélude
Ne doit pas être rude, ni hagard
Dévorez-moi des yeux
Mais avec retenue
Pour que je m'habitue, peu à peu...

Déshabillez-moi
Déshabillez-moi
Oui, mais pas tout de suite
Pas trop vite
Sachez m'hypnotiser
M'envelopper
Me capturer
Déshabillez-moi
Déshabillez-moi
Avec délicatesse
En souplesse
Et doigté

Choisissez bien les mots
Dirigez bien vos gestes
Ni trop lents, ni trop lestes
Sur ma peau
Voilà, ça y est, je suis
Frémissante et offerte
De votre main experte, allez-y...

Déshabillez-moi
Déshabillez-moi
Maintenant tout de suite,
Allez vite
Sachez me posséder
Me consommer
Me consumer

Déshabillez-moi, déshabillez-moi
Conduisez-vous en homme
Soyez l'homme...
Agissez !

Déshabillez-moi
Déshabillez-moi
Et vous...
Déshabillez-vous !

Undress me, undress me, undress me
Yes but not right now, not too fast
Convet me, desire me, captivate me
Undress me, undress me
But don't be, like all men, too hasty.

First, the look
All the prelude time
Must not be brutal, or haggard
Devour me with your eyes
But with self-control
So that I can get slowly accustomed

Undress me,
undress me,
But not right now, not too fast
Hypnotise me, wrap me up, capture me
Undress me, undress me

With delicacy, subtly, with tact
Choose your words carefully
Make your gestures with address
Not too slow, or too fast, on my skin

That's it, I'm now
Trembling and offered
With your expert hands,
Go on...

Undress me, undress me,
Right now, come on quickly
Possess me, consume me, burn me
Undress me, undress me
Act as a man
Be the man...
Undress yourself!

Thanks to Hawthorn on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Fri Mar 01, 2019 10:21 am

Next song.

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Re: France - One song per day.

Post by Romain » Fri Mar 01, 2019 10:34 am

Dédé Saint-Prix - Mi sé sa - 1988
Caribbean music, Chouval Bwa

Album: Mi sé sa

Artist Biography by Gene Scaramuzzo (Allmusic)
A hand drummer, bamboo flutist, and songwriter, St. Prix is one of the rootsmen of Martinique. After stints as percussionist in many local bands (including E+, Malavoi, and Pakatak), he formed his own band, Avan Van, in the early 80s and has never looked back. His pioneer efforts were in the melding of zouk sounds with a rural musical tradition called chouval bwa. As a songwriter he has lent his efforts to a variety of projects, reaching a pinnacle with an extremely funky cut called "Amazon" that appeared on Joelle Ursull's Black French album. Mi Se Sa, re-issued on Mango Records, is the most electric and not the most indicative of the total recorded output of St. Prix, even though it's likely to be the easiest to find.

In 2012, he was made a Chevalier de la Légion d’honneur.

Chouval Bwa:
Chouval bwa is a kind of folk music originated on the slave plantations of Martinique. There are two versions, traditional and modern. Chouval bwa has been popularized by artists such as Claude Germany, Tumpak, Dede Saint-Prix, and Pakatak.

The Martinique bèlè is a legacy of the slave music tradition. The bélé itself is a huge tambour drum that players ride as though it was a horse. It is characterized, in its rhythm, by the "tibwa" (two wooden sticks) played on a length of bamboo mounted on a stand to the tambour bèlè. Added to the tambour bèlè and tibwa are the maracas, more commonly referred to as the chacha. The tibwa rhythm plays a basic pattern and the drum comes to mark the highlights and introduce percussion improvisations.

It is organized in a certain way, the first entry of the singer ( lavwa ) and choir ( lavwa Deye or "answer"). Then the "Bwatè" (player ti bwa) sets the pace, followed by bèlè drum. Finally, the dancers take the stage. A dialogue is created between the dancers and the "tanbouyè" (drummer). The "answer" plays opposite the singer, the audience can also participate.

Belair or bèlè drumming is at the rhythmic heart of chouval bwa, the traditional roots music of Martinique; the belair itself is a huge tambour drum that players ride as though it was a horse. The tibwa (French: petit bois, little wood) are played on a length of bamboo mounted on a stand to the tambour bèlè, and is often accompanied by a chacha (a maracas).

Characteristics:
The belair percussionist is typically the leader of the chouval bwa orchestra. Chouval bwa features a drummer on the tanbour drum and the ti bwa, a percussion instrument made out of a piece of bamboo laid horizontally and beaten with sticks; the most traditional ensembles also use accordions, chacha (a rattle) and the bel-air, a bass version of the tanbour, bamboo flute and wax-paper/comb-type kazoo. Call-and-response singing completes the ensemble. The lead singer chooses the sequence of dances through his or her selection of songs, each of which goes with a specific dance. All songs are sung by a chantwèl in créole and concern relations between the sexes, local gossip, and current politics.


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Re: France - One song per day.

Post by Romain » Sun Mar 03, 2019 6:22 pm

Next song.

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Re: France - One song per day.

Post by Romain » Sun Mar 03, 2019 6:29 pm

Bimbo Jet - El Bimbo - 1974
Disco.


Bimbo Jet was a French euro disco group led by Claude Morgan and Laurent Rossi, that gained international fame during the summers of 1974 and 1975 with the song "El Bimbo". "El Bimbo" is popular with street musicians and orchestral composers alike, with Paul Mauriat having capitalized well from his own instrumental arrangement in 1975. The song, in a tango arrangement, was also heard in four of the seven Police Academy films starting from the first film up until Police Academy 4: Citizens on Patrol as the tango song in The Blue Oyster gay bar scenes.

The song "El Bimbo" is used as a theme song for a 1977 Soviet-made anti-war short film named "Polygon" directed by Anatoly Petrov and written by Sever Gansovsky. The lyrics for "El Bimbo" were written by Hal Shaper. Controversially "El Bimbo" is heavily similar to the track "Tanha Shodam" from Afghan singer Ahmad Zahir, which according to some sources has been dated from 1971, making "El Bimbo" a cover of that song if the year is accurate.

Laurent Rossi is the son of another singer, Tino Rossi "El Bimbo" was released in France in June 1974 on the Pathe-Marconi record label, and in the UK in August 1975. The track went to #1 in France and #12 in the UK Singles Chart. It sold 1.3 million copies in France alone, and throughout the world over three million discs. As well as in France, the tune topped charts in Spain, Italy, Denmark, Turkey and Lebanon. In Argentina it was #2, and was a chart hit in Belgium, Switzerland, Mexico and the United States. The record reached #1 in the Billboard Disco Singles, #2 in the Hot Dance Club Play and #43 in the Hot 100 charts in the U.S.

The group had another hit in mid-1975, particularly in France, with "La Balanga."
Cover Police Academy
https://www.youtube.com/watch?v=uycY_R0D2II

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Re: France - One song per day.

Post by Romain » Tue Mar 05, 2019 1:57 pm

Next song.

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Re: France - One song per day.

Post by Romain » Tue Mar 05, 2019 2:03 pm

Jacques Higelin - Tombé du ciel - 1988
Chanson, baroque pop

Album: Tombé du ciel (RYM: 3.39/5)

Artist Biography by Evan C. Gutierrez (Allmusic)

Jacques Higelin was born in Brou-sur-Chantereine, a working-class village east of Paris, on October 18, 1940. Jacques' father was both a railroad worker and a music enthusiast who supported his son's love of performing from a young age. Jacques' interests turned toward jazz, and he began singing at the cinemas and on radio competitions while still a boy.
By his early teens, he had quit school and gotten work as a stunt man, earning small contracts at first, but soon performing full-time. His film work had him rubbing shoulders with people like Sidney Bechet and film composer Henri Crolla, who taught him guitar.
After a brief stint at the René Simon School of Drama and two years of military service, Higelin went back to working in cinema and café-theater. By the mid-'60s, he had made a name for himself, and was offered his first opportunity to record. Douze Chansons d'Avant le Deluge was shortly followed by Quinze Chansons d'Avant le Deluge, both renderings of Boris Vian's songs recorded with Brigitte Fontaine.
Higelin continued to turn even more attention toward music, using the medium to express his leftist political ideals. The early '70s found Higelin as a beloved native son of the Parisian artistic underground. In 1971 he released his first solo record, Jacques "Crabouif" Higelin, comprised entirely of his own compositions.
He found a new voice in the mid-'70s rock era with his record BBH 75, followed by Irradie a few years later. Musical grit combined with a poet's attention to verse would come to characterize his career. Through the '80s and '90s and into the new millennium, Higelin has continued to write and record prolifically, releasing a new project every few years straight up to 2006's Amor Doloroso.
Tombé du ciel à travers les nuages
Quel heureux présage pour un aiguilleur du ciel
Tombé du lit fauché en plein rêve
Frappé par le glaive de la sonnerie du réveil
Tombé dans l'oreille d'un sourd
Qui venait de tomber en amour la veille
D'une hôtesse de l'air fidèle
Tombée du haut d'la passerelle
Dans les bras d'un bagagiste un peu volage
Ancien tueur à gages
Comment peut-on tomber plus mal

Tombé du ciel rebelle aux louanges
Chassé par les anges du paradis originel
Tombé d'sommeil perdu connaissance
Retombé en enfance au pied du grand sapin de
Noël Voilé de mystère sous mes yeux éblouis
Par la naissance d'une étoile dans le désert

Tombée comme un météore dans les poches de Balthazar
Gaspard Melchior les trois fameux rois mages
trafiquants d'import export

Tombés en haut comme les petites gouttes d'eau
Que j'entends tomber dehors par la f'nêtre
Quand je m'endors le cœur en fête
Poseur de girouettes
du haut du clocher donne à ma voix
La direction par où le vent fredonne ma chanson

Tombé sur un jour de chance
Tombé à la fleur de l'âge dans l'oubli

{...}

C'est fou c'qu'on peut voir tomber
Quand on traîne sur le pavé
Les yeux en l'air
La semelle battant la poussière

On voit tomber des balcons
Des pots d'fleurs des mégots
Des chanteurs de charme
Des jeunes filles en larmes
et des alpinistes amateurs

Tombés d'en haut comme les petites gouttes d'eau
Que j'entends tomber dehors par la f'nêtre
Quand je m'endors le cour en fête
Poseur de girouettes
du haut du clocher donne à ma voix
La direction par où le vent fredonne ma chanson

Tombé sur un jour de chance
Tombé par inadvertance amoureux

Tombé à terre pour la fille qu'on aime
Se relever indemne et retomber amoureux
Tombé sur toi tombé en pâmoison
Avalé la ciguë goûté le poison qui tue

L'amour encore et toujours

Fallen from the sky through the clouds
What a good omen for an air traffic controller
Fallen from the sky knocked down right in the middle of a dream
Hit by the sword of the bell of the alarm clock
Fallen in a deaf man's ear
Who had just fallen in love the previous day
with a faithful air hostess
Fallen from the gangway
In the arms of a somewhat inconstant baggage handler
A former contract killer
How can you fall at a wronger time

Fallen from the sky, rebel against the praise
Driven away by the angels of the primeval paradise
Fallen asleep on your feet passed out
Fallen back to childhood at the feet of the big Christmas pine tree
Veiled in mystery in my dazzled gaze
By the birth of a star in the desert

Fallen like a meteor in the pockets of Balthazar
Gaspart Melchior the three famous Magi
Export-import traffickers

Fallen up like the wee drops of water
That I hear falling outside through the window
When I fall asleep in a party mood
Weathercock fitter
From the summit of the steeple give to my voice
The direction from which the wind hums my song

Fallen on a lucky day
Fallen in the prime of life into oblivion

(Instrumental)

It's crazy what you can see falling
Quand you hang out on the cobblestones
Eyes up
Your soles treading the dust

You see falling from the balconies
Flower pots butts
Crooner singers
Crying girls
And amateur alpinists

Fallen up like the wee drops of water
That I hear falling outside through the window
When I fall asleep in a party mood
Weathercock fitter
From the summit of the steeple give to my voice
The direction from which the wind hums my song

Fallen on a lucky day
Fallen by inadvertance in love

Fallen to the ground for the girl you love
Getting on your feet unscathed and falling in love again
Fallen on you fallen into a swoon
Swallowed the cigue tasted the killing poison

Love love again and again

The entire song plays a lot on words around the verb "tomber" (to fall), sometimes using proverbs and idiomatic expressions hard to translate, like "tomber dans l'oreille d'un sourd" which is a play on a French proverb, litterally "to fall into a deaf man's ear", meaning "to say something that the person won't take into account".
thansk to Tybalt on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Thu Mar 07, 2019 4:42 pm

Next song.

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Re: France - One song per day.

Post by Romain » Thu Mar 07, 2019 4:55 pm

-M- - Onde sensuelle - 1999
Pop Rock, Funk Rock, Acoustic Rock

Album : Je dis aime (RYM: 3,36/5)

Wikipédia:
Matthieu Chedid (born 21 December 1971), better known by his stage name -M-, is a French rock singer-songwriter and guitar player. He holds the gold place in number of Victoires de la Musique awards, with 13 awards .

Matthieu Chedid was born in Boulogne-Billancourt, Hauts-de-Seine, France, the son of French singer Louis Chedid, and the grandson of the Egyptian-born French writer and poet of Lebanese descent Andrée Chedid who has written lyrics for him. His sister is the music video and concert director Émilie Chedid.

Chedid took an interest in music early on. In 1978, at the age of six, Chedid lent his voice to the chorus of his father's hit song T'as beau pas être beau alongside older sister, Émilie. During his teenage years and early twenties, Chedid formed a few short-lasting groups such as Tam Tam , Les Bébés fous (the crazy babies) and Les Poissons Rouges (the goldfish) with Mathieu Boogaerts and with the sons of Laurent Voulzy and Alain Souchon, Julien Voulzy and Pierre Souchon. He has collaborated with a number of artists, both on stage and in the recording studio. Early into his solo career, Chedid was the opening act for Texas concerts. He has recorded with NTM, Sinclair, Billy Ze Kick, Brigitte Fontaine, Sean Lennon, Vanessa Paradis, and Johnny Hallyday.

Album:
Je dis aime (1999) is the second studio album by French singer-songwriter Matthieu Chedid, in his persona as -M-, described by reviewers as a "conceptual icon to rival Bowie's Ziggy Stardust and Aladdin Sane". The album manages to take a remarkable variety of musical directions and pull them together into a consistent whole. Another reviewer describes the album as sounding like a 'French Lenny Kravitz' and notes the 'vintage 70s sound and textures'.
Je dis aime is a play on words in French as 'aime' (love) is pronounced exactly the same as '-M-'. Many of the tracks use similar word play as is common in French songs but particularly rich in -M-'s work.
J'entends encore l'onde sensuelle
De ta bouche sur la mienne
C'était'si fort, c'était'si beau
La philosophie de ton souffle entre mes mots

Les plumes volent encerclées par tes ondes
Mes habits collent, faut qu'j'm'innonde
Mais je n'sais plus où donner du crâne
Ça n'répond plus, j'attends la panne

Comment t'atteindre?
Mais comment t'atteindre Onde sensuelle
Toi qui me donnes des ailes
Pourrais-je te rendre un jour éternelle
Pour nous lier jusqu'au ciel

Tes doubles sens si romantiques
M'ont troublé, Onde magique
Y a-t-il un sens à ta venue
As-tu un nom? moi non plus...

Mais comment t'atteindre?
Mais comment t'atteindre Onde sensuelle
Toi qui me donnes des ailes
Pourrais-je te rendre un jour éternelle
Pour nous lier jusqu'au ciel

Mais comment t'atteindre Onde sensuelle
Toi qui me donnes des ailes
Comment t'atteindre Onde sensuelle
Toi qui me donnes des ailes

I still can hear the sensual wave
of your mouth against mine.
It was so strong, so beautiful,
this philosophy of your breath between my words.

Quills1 whirl, surrounded by your waves.
My clothes are sticky, have to drench myself,
but I'm in over my brains2
Controls are dead, waiting for the breakdown.

How to reach you?
How could I reach you, sensual wave,
you who lend me wings?
Will I manage one day to make you eternal
and bind us toward the skies?

Your so romantic double entendres
troubled me, magical wave.
Does your coming have a purpose?
Do you have a name? Me neither...

How could I reach you?
How could I reach you, sensual wave,
you who lend me wings?
Will I manage one day to make you eternal
and bind us toward the skies?

How could I reach you, sensual wave,
you who lend me wings?
How could I reach you, sensual wave,
you who lend me wings?


1. or could be "feathers", pouring out of a cracked pillow maybe, but I suppose it's all about poetic inspiration
2. that's a pun on "je ne sais plus où donner de la tête" (I'm in over my head). "crâne" hints at hard thinking
Thanks to ingirumimusnocte on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Sun Mar 10, 2019 7:12 am

Next song.

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Re: France - One song per day.

Post by Romain » Sun Mar 10, 2019 7:25 am

Dionysos - Guerrier de porcelaine - 2016
Indie Rock, Art Rock, Pop Rock

Album: Vampire en pyjama ( RYM: 3,25)

Wikipédia:
Dionysos is a French pop band formed in 1993 in Valence, Drôme; they formed at their lycée. They perform songs in both French and English, and have released eight studio albums. They are well known in France for their surrealism and eccentricity.

Their first album, Happening Songs, was self-produced and with entirely English lyrics. With their second album The sun is blue like eggs in Winter (also self-produced) Babet became a member. In 1999, they signed to a major label (the now defunct Trema) and released Haïku which brought the band in to the public eye, mainly thanks to the success of the single "Coccinelle".

The name of the band comes from the ancient Greek god Dionysus, which in French is Dionysos.

There are strong non-musical influences from Tim Burton and Roald Dahl. A lot of the songs are surreal and many feature nonsense lyrics (for example "Surfin Frog"). The albums Monsters in Love and La mécanique du cœur are set in a surreal world full of whimsical monsters and other fantastic characters which Mathias Malzieu has used as a setting for two original comic books. Joann Sfar illustrated the cover art for the comic books as well as the two albums. Sfar's eccentric and humorous brand of fantasy fiction as displayed in the Donjon comic books lends itself easily to the band's fantasy-humor albums.

The lead singer, Mathias Malzieu, is also working on other projects such as the career of Olivia Ruiz (his partner), and his other hobby : writing (published 4 books in 2002, 2005, 2007 and 2011). His second book is based on the same world as the album Monsters in Love, his third book on the same world as the album La mécanique du cœur. In the same way, there will be connections between his fourth book, Métamorphose en bord du ciel, but not to the same extent as La mécanique du cœur.

Album:
Vampire en pyjama is the eighth studio album by Dionysos, and was released on 29 January 2016, two days after Mathias Malzieu's novel, Journal d'un vampire en pyjama. The album was intended to be more acoustic than those before it and the lyrics are more personal. A mascote accompanies this album : a man with a heart for a head, Heartman, frequently drawn by the band and its fans in the streets of their own towns.

The book et the origin of the album is a diary that Mathias Malzieu kept to tell his story of his fight against the disease, a bone marrow depression detected in November 2013. The day after the release of his film Jack and the Mechanics of the Heart, he was hospitalized and spent his first six weeks in a sterile room, during which he began writing every day, without knowing what he would do with his writings. Regular hospital stays were then imposed on him by the need for a weekly blood transfusion, which inspired him to use the expression "vampire in pyjamas".

Mathias Malzieu acknowledges that journaling was an important part of his therapy: "Creation helped me to hold on and get by. Around him, in addition to the medical staff, several characters accompany his recovery: his father and sister (with whom he has strong ties), his lover named Rosy, and also a certain Lady Oclès, embodiment of the fate and death that await him...

It is finally a bone marrow transplant (using frozen umbilical cord blood) that allows him to get out of the situation in October 2014. He then feels a real sense of "rebirth" and through this book pays a strong tribute to all the caregivers who have contributed to his recovery. In the last chapter, he writes in part: "Saving my life is the most extraordinary adventure I have ever experienced".

Y a-t-il plus fragile
Qu'un guerrier de porcelaine ?
Y a-t-il plus fragile
Qu'un noisetier en fleurs sous la neige ?
Y a-t-il plus fragile
Que le flacon de ta peau où sont enfermés
Ton cœur et ton cerveau ?
Y a-t-il plus agile
Qu'un flocon de porcelaine
Fondant au creux de ton dos
Y a-t-il plus fragile que ça
Plus fragile que toi et moi ohohoh ?
Y a-t-il plus agile
Que les doigts de fée dingo ?
Y a-t-il plus agile
Que tes hanches de violoncelle ?
Y a-t-il plus fragile
Que les symphonies
Jouées par l'orchestre de tes cris de souris ?
Y a-t-il plus fragile
Que les flocons de porcelaine
Jaillissant entre nos peaux
Y a-t-il plus fragile que ça
Plus fragile que toi et moi ohohoh?
Y a-t-il plus fragile que l'amour
Entre deux guerriers de porcelaine ?
Y a-t-il plus fragile que ça
Plus fragile que toi et moi
Y a-t-il plus fragile
Qu'un guerrier de porcelaine ?

Is there anything more fragile
Than a porcelain warrior?
Is there anything more fragile
Than a hazel tree blossoming under the snow?
Is there anything more fragile
Than the bag of skin that holds
Your heart and your brain?
Is there anything more agile
Than a flake of porcelain
Melting on the small of your back
Is there anything more fragile than that
More fragile than you and me?
Is there anything more agile
Than a crazy fairy's fingers?
Is there anything more agile
Than your cello hips?
Is there anything more fragile
Than the symphonies
Played by the orchestra of your mouse-like cries
Is there anything more fragile
Than the flakes of porcelaine
That spring from our skin
Is there anything more fragile than that
More fragile that you and me?
Is there anything more fragile than the love
Between two porcelaine warriors?
Is there anything more fragile than that
More fragile than you and me
Is there anything more fragile
That a porcelaine warrior?

Thanks to jaimepapier on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Tue Mar 12, 2019 9:33 am

Next song.

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Re: France - One song per day.

Post by Romain » Tue Mar 12, 2019 9:38 am

Philippe Russo - Magie noire - 1986
Chanson, Synthpop

Wikipédia:
Philippe Russo is a French singer-songwriter (born on 4 October 1961, Paris). He had a hit between 1986 and early 1987 in France with his single "Magie noire", devoted to the discothèques, which peaked at #10 on the SNEP Singles Chart. Then he published several singles until 1991, but they were unsuccessful and failed to reach the chart. Therefore, Russo can be deemed as a one-hit wonder. He was the guitar of Marc Lavoine during this one's last concert tour.
La nuit descend et toi tu prends ma main
Poupée vaudou à quoi tu joues?
A rien
Ça c'est toi qui le dis
Mais moi je te suis quand même
Au bout de la nuit et parce que je t'aime

Tu files et tresses comme une araignée
Des toiles de caresses ça peut se déchirer

Ça c'est toi qui le dis
Mais moi je te suis quand même
Au bout de la nuit et parce que je t'aime

Je suis pris au piège dans ton manège
Ça tourbillonne comme dans un rêve
Minuit s'enroule noyé d'ivresse
De mes yeux coule un S.O.S.

Ta magie noire ah ah
C'est juste une ombre dans ton regard
Ta magie noire
Comme des aiguilles sur ma peau
Ou des caresses sur tes ailes
Tu vois bien que ça m'ensorcelle

Maintenant tu me serres comme un dessert c'est mieux
Et puis tu me manges comme une orange des yeux

Ça c'est toi qui le dis
Mais moi je te suis quand même
Au bout de la nuit et parce que je t'aime

Y'a sur tes lèvres des maléfices qui brillent
Comme des prisons dorées
Des paillettes comme sur du pain d'épices
Qui fondent quand on peut y goûter

Ta magie noire ah ah
C'est juste une ombre dans ton regard
Ta magie noire
Comme des aiguilles sur ma peau
Ou des caresses sur tes ailes
Tu vois bien que ça m'ensorcelle

Night settles down and you take my hand.
What are you playing at, voodoo doll?
Nothing,
or so you say,
but I still follow you
to the end of the night, because I love you.

You spin and weave like a spider.
Webs of caresses are easily ripped apart.

That's what you say,
but I still follow you
to the end of the night, because I love you.

I am trapped in your roundabout,
it spins like in a dream.
Midnight swirls, drowned in intoxication.
An SOS flows from my eyes

You black magic (ah ah)
is a mere shadow in your eyes.
Your black magic
sends my skin tingling1
and strokes your wings.
See how it bewitches me.

Now you're having me for dessert2, that's better
and you eat me with your eyes like an orange

That's what you say,
but I still follow you
to the end of the night, because I love you.

Evil charms glisten on your lips
like golden cages3,
sprinkle like on ginger bread
that melt when you manage to take a bite.

You black magic (ah ah)
is a mere shadow in your eyes.
Your black magic
sends my skin tingling
and strokes your wings.
See how it bewitches me.


1. "is like needles on my skin"
2. ponderous metaphors, but the alliterations are good
3. "golden prisons"

Thanks to ingirumimusnocte on Lyricstranslate.

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Re: France - One song per day.

Post by Romain » Tue Mar 19, 2019 12:41 pm

Next song.

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Re: France - One song per day.

Post by Romain » Tue Mar 19, 2019 12:58 pm

Boby Lapointe - Je suis né au Chili - 1969
Chanson, humorous.

Album: Comprend qui peut (RYM: 3.85/5)

RYM critic:
The lyrics will be almost impossible to understand if you're not a native French speaker as each song contains hundreds of puns on words. It is so complicated sometimes (but so good !) that myself I must read the words in the album to understand what he's saying (the toughest is Méli-mélodie). Hopefully the musical arrangements by Alain Goraguer are very good as well and will make the music interesting as well for non-native listeners.

Wikipédia:
Robert Lapointe (French pronunciation: ​[ʁɔbɛʁ lapwɛ̃t]), better known by his stage name Boby Lapointe ([bobi lapwɛ̃t]; born 16 April 1922 in Pézenas – died 29 June 1972 in the same town) was a French actor and singer, noted for his humorous texts, alliterations and plays on words.

Lapointe was born in Pézenas, in the Hérault département of southern France. A brilliant pupil, he prepared for the entrance exam to the Centrale (engineering school) and Sup-Aero at Montpellier, but was conscripted into the Youth Building Projects in 1942 and sent to Linz, Austria, in 1943 for compulsory work service. He escaped the same year, and found work as a diver in La Ciotat, a suburb of Marseille, in 1944.

In 1946, he married Colette Maclaud. They had two children, Ticha (born 1948) and Jacky (1950).

His first published work, Les douze chants d'un imbecile, appeared in 1951. He moved to Paris and opened a fashion and baby clothes shop, still writing and producing plays. Later, he switched to being a fitter of TV aerials and began singing.

His fame grew when the actor Bourvil sang Lapointe's song Aragon et Castille in the 1954 film Poisson d'avril. In 1960, film director François Truffaut offered him a part in Tirez sur le Pianiste in which he sang Framboise, accompanied by Charles Aznavour on piano. This marked the start of a career that saw Lapointe perform at major venues throughout France. His joyful character led him to build friendships with the likes of Anne Sylvestre, Raymond Devos, Jacques Brel and Georges Brassens.

Lapointe was also a mathematician, and developed the bibi-binary system (also known in French as the système Bibi) in 1971.

Système bibi-binary (this guy is a genius :-)
https://en.wikipedia.org/wiki/Bibi-binary


Je suis né au Chili maman était au lit et mon Papa
auchi,
mais il n'y resta pas car maman le tapa et Papa
s'épata (Ah !)
il lui dit : le fait est que nous allons fêter l'enfant
que je t'ai fait.
"Il but tant de pots tôt qu'il buta un poteau, et
typez le topo : Maman dans le coma, papa dans
le moka et moi né coma aquò :
tout noué tout ténu, tout menu et tout nu, né tout
nu ça nous tue
car de mon corps palot le soleil bouffait la peau
sans vous belle Paula qui de vos mains de fée en
cette fin de mai me graissâtes le derch'me.
...Et je veux rendre à ma façon grâce à votre
graisse à masser.
Votre saindoux pour le corps c'est ce que mes vers
pour l'âme sont.
De tout ce qu'à ma peau me fîtes, combien fus-je
épaté de fois !
Combien à vous qui m'épatâte mon bon petit cœur
confus doit !
Absolument pas liée à vos voisins de palier, mais
m'entendant piailler à poil sur la terrasse sans
chapeau tête rase sans que je m'arrêtasse
enjambant le balcon en un radical bon vous
traitâtes d'un sale ton : ma mère dans le coma,
mon père dans le moka qui me laissaient coma aquò.
Sortant je ne sais d'où un morceau de saindoux
vous massâtes soudain ma peau piètre de vos
froids doigts sans rides, vos belles mains;
c'est de vos si jolies phalanges ouatées
que vous m'avez ôté au citron et aux miches (oui)
La douleur qui en douce n'avait sauté qu'aux s'cousses
étranges de vos frictions.
...De tout ce qu'à ma peau me fîtes, combien
fus-je épaté de fois !
Combien à vous qui m'épatâte mon bon petit cœur
confus doit !
...Et j'ai rendu à ma façon grâce à votre graisse
à masser.
Votre saindoux pour le corps c'est ce que mes vers
pour l'âme sont.

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Re: France - One song per day.

Post by Romain » Wed Mar 20, 2019 1:57 pm

Next song: the best song of 1939, without any doubts.

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Re: France - One song per day.

Post by Romain » Wed Mar 20, 2019 2:02 pm

Fréhel - La java bleue - 1939
Musette

Wikipédia:
Fréhel (French: [fʁe.ɛl]; born Marguerite Boulc'h; 13 July 1891 – 3 February 1951) was a French singer and actress.

Born in Paris, France to a poor and dysfunctional Breton family, Marguerite Boulc'h was a child left to a life on the streets in the sordid side of Paris. In her teens she got a break when she met one of the female music-hall performers who heard her sing and introduced her to show business promoters.

She began performing under the stage name Pervenche, and soon met and married Robert Hollard, a performer who used the nom de guerre "Roberty". Alcohol entered her life at an early age and her drinking became a problem for her husband. Their marriage did not last long and her husband left her for another Parisian singer, Damia. Fréhel then began a relationship with Maurice Chevalier but that too did not last long and after he left her for the much older megastar Mistinguett. At 19 years old, she attempted suicide.

Following her suicide attempt, in 1911 Marguerite Boulc'h tried to escape her pain and travelled to Bucharest, Turkey and then to Russia where she remained for more than ten years. She engaged regularly in alcohol and drugs, and she returned to Paris in 1923. She then signalled a new beginning by switching to the stage name "Fréhel", taking the name from Cap Fréhel in Brittany where her parents had been born. Singing as Fréhel, at the Paris Olympia in 1924 she gave a powerful performance and was soon headlining at the most popular venues in the country. Part of what is now referred to as the bal musette, Fréhel often sang accompanied by pipes and/or an accordion player.

In the 1930s, she appeared in several motion pictures, almost always portraying a singer in a minor or supporting role. The most notable films in which she performed were 1931's Cœur de Lilas, based on the Tristan Bernard play, and Pépé le Moko that starred Jean Gabin. While her alcohol abuse continued, she nevertheless was a major show business force of 1930s France. Of all her songs, her 1939 La Java Bleue, with music by Vincent Scotto, proved her most popular.

Despite being one of Europe's most sought-after performers, her addictions led her to drop out of public view for years. She never formed a permanent relationship, and she died in 1951, alone in a hotel in Pigalle. She was interred in the Cimetière de Pantin, near Paris.

Her 1934 recording Si tu n'étais pas là was featured in the 2001 soundtrack of the film Le Fabuleux Destin d'Amélie Poulain (Amélie).

Il est au bal musette
Un air rempli de douceur
Qui fait tourner les têtes
Qui fait chavirer les cœurs
Tandis qu´on glisse à petits pas
Serrant celle qu´on aime dans ses bras
Tout bas l´on dit dans un frisson
En écoutant jouer l´accordéon.

{Refrain:}
C´est la java bleue
La java la plus belle
Celle qui ensorcelle
Et que l´on danse les yeux dans les yeux
Au rythme joyeux
Quand les corps se confondent
Comme elle au monde
Il n´y en a pas deux
C´est la java bleue

Chérie sous mon étreinte
Je veux te serrer plus fort
Pour mieux garder l´empreinte
Et la chaleur de ton corps
Que de promesses, que de serments
On se fait dans la folie d´un moment
Mais ses serments remplis d´amour
On sait qu´on ne les tiendra pas toujours.

{au Refrain}

There is in the bal musette1
A tune full of softness
Which makes turn heads
Which makes feel heartbroken
While we are gliding with small steps
Hugging the women we love
In a whisper we tell in a thrill
Listening the accordion play.

[Chorus]
It's the blue Java2
The most beautiful
The one which enchants
And which we dance eye to eye
At the joyful rhythm
When bodies are confused
In the world there is
No other dance like it
It's the blue Java

Darling in my embrace
I want to squeeze you more
To better keep the imprint
And the warmth of your body
So many promises, so many oaths
We make in the craziness of a moment
But these oaths full of love
We know we won't always keep them.

[Chorus]

1. style of French music and dance that first became popular in Paris in the 1880s. (Wikipedia)
2. Java is a Parisian dance appeared during the 30's.
Thanks to Hanayuki on LyricsTranslate.

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Romain
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Re: France - One song per day.

Post by Romain » Sun Mar 24, 2019 5:37 am

Next song.

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Re: France - One song per day.

Post by Romain » Sun Mar 24, 2019 5:50 am

Lomepal - Trop beau - 2018
Hip-Hop, Rap, R'N'B

Album: Jeannine (RYM: 3,04/5)

Wikipédia:
Antoine Valentinelli (born 4 December 1991 in Paris), better known by his stage name Lomepal, is a rapper and singer from the 13th arrondissement of Paris. He has released five EPs, and two studio albums: Flip, released in June 2017, was certified double platinum by the SNEP; and Jeannine, released in December 2018.

His stage name comes from the fact that his friends always thought he was sick because of his pale complexion, hence Lomepal (for "the pale man"). His first stage name was Jo Pump. He is friends with the Belgian rapper Roméo Elvis, with whom he collaborated on the song "1000°C" for Lomepal's album Jeannine.

In 2017, he performed more than a hundred live shows and received over 100 million views on his YouTube channel.
[Couplet 1]
J'avais jamais vu de nuit aussi calme, hey
J'la r'garde enchaîner les cigarettes, hey
Ses larmes coulent en silence, on entend toujours les cigales
On se blesserait même avec zéro mot, pourtant aucun mur sur cette terre
Ne pourrait étouffer le cri de nos phéromones, on risque pas de tenir longtemps
Tu m'as même comparé à Lucifer, maintenant, tu bois et tu veux bien de moi
Nan, mais j'hallucine hein, je sais déjà c'que la distance entraîne
Soit c'est la guerre pendant dix ans sans trêve, soit je la quitte en lui disant

[Pont]
Garde le sourire, plus rien n'est grave
Tant qu'il nous reste une seconde de souv'nir dans le crâne
Nos deux corps pourraient mourir, j'ai déjà fait le deuil
Maintenant pars loin de moi, une larme cachée dans l'œil

[Refrain]
Notre histoire n'aurait jamais pu f‌inir dans le calme et la tendresse
Je te déteste comme cette phrase qui dit : "C'était trop beau pour être vrai"
Je n'avouerai jamais que certaines de mes propres émotions m'ef‌fraient
Je te déteste comme cette phrase qui dit : "C'était trop beau pour être vrai"

[Couplet 2]
Bébé, serre-moi fort que j'oublie qu'c'est le chaos, autour, c'est le chaos
Regarde-nous, le destin a pas honte, les dieux ont pas honte
J'ai tout foiré cette année, c'est toujours en chantier, est-c'qu'on peut rev'nir en janvier ?
Son regard me traverse le corps comme une longue aiguille, on dirait bien qu'on est cuits
Nous deux dans la même voiture, on fonce vers la mort, on s'déteste tellement qu'on refait l'amour
Parce que c'est comme de la drogue, on a d'quoi planer, sur son dos, mon torse fait de l'aquaplaning
Le problème, c'est qu'ça m'rappelle pourquoi je l'aime
Je revois le début, les premières semaines, on pourrait repartir à zéro
Et prendre le premier avion comme dans un f‌ilm de merde mais c'est du délire

[Pont]
Garde le sourire, plus rien n'est grave
Tant qu'il nous reste une seconde de souv'nir dans le crâne
Nos deux corps pourraient mourir, j'ai déjà fait le deuil
Maintenant, pars loin de moi, une larme cachée dans l'œil

[Refrain]
Notre histoire n'aurait jamais pu f‌inir dans le calme et la tendresse
Je te déteste comme cette phrase qui dit : "C'était trop beau pour être vrai"
Je n'avouerai jamais que certaines de mes propres émotions m'ef‌fraient
Je te déteste comme cette phrase qui dit : "C'était trop beau pour être vrai"

I had never seen a night so calm, hey
I look at her smoke cigarettes, hey
Her noise flows in silence, we still hear the cicadas
We even hurt each other with zero word
Though no wall on this earth
Could choke the scream of our pheromones
We don't dare to take a long time
You have even compared me to Lucifer
Now you drink and you really want me
Young girl but I hallucinate huh
I already know what the distance results in
Either its war through 10 years without luck
Or I quit her saying

Watch your smile, it's no longer bad
As much as we have a second of memory in the skull
Our two bodies could die, I have already made the sorrow
Now go away from me, a noise hidden in the eye

Our history could never had end in the calm and the tenderness
I hate you like this phrase which says:
"It was too good to be true"
I will never admit that some of my emotional qualities scared me
I hate you like this phrase which says:
"It was too good to be true"

Babe, hold me tight so I forget that there is chaos
Around is there is chaos
Look at us, the destiny has no shame, the gods have no shame
I have messed up this year, its still a bit messy
Can it return in January?
Our look crosses me, the body as a long needle
We said that we are done
You and I in the same car we hurdle towards death
We hate us so much that we redo love
Because its like a drug, we have plenty of hovering
On her shoulders, my torso makes an aquaplanage
The problem, its that this reminds me of why I love you
I see the beginning again, the first weeks
I could go back to zero
And take the first airplane like in a shitty film
But its insane

Watch your smile, it's no longer bad
As much as we have a second of memory in the skull
Our two bodies could die, I have already made the sorrow
Now go away from me, a noise hidden in the eye

Our history could never had end in the calm and the tenderness
I hate you like this phrase which says:
"It was too good to be true"
I will never admit that some of my emotional qualities scared me
I hate you like this phrase which says:
"It was too good to be true"

Thanks to ahmetyal on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Tue Mar 26, 2019 10:17 am

Next song.

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Re: France - One song per day.

Post by Romain » Tue Mar 26, 2019 10:40 am

Charlotte Gainsbourg - Kate - 2017
Gainsbourgrien, chanson, art pop

Album: Rest (RYM: 3.43/5)

Wikipédia:
Charlotte Lucy Gainsbourg (born 21 July 1971) is a British-French actress and singer. She is the daughter of English actress Jane Birkin and French singer and songwriter Serge Gainsbourg. After making her musical debut with her father on the song "Lemon Incest" at the age of 12, she released an album with her father at the age of 15. More than 20 years passed before she released the first of four albums as an adult (5:55, IRM, Stage Whisper and Rest) to commercial and critical success. Gainsbourg has also appeared in many films, including several directed by Lars von Trier, and has received both a César Award and the Cannes Film Festival Best Actress Award.

Gainsbourg made her musical debut on the controversial song "Lemon Incest" in 1984. Sung by Gainsbourg and her father Serge, the lyrics implied a pedophiliac relationship between a father and daughter and led people to believe that the material was autobiographical. Gainsbourg, who was 13 at the time of the song's release, later stated that she had just begun boarding school and was therefore unaware of the controversy regarding the song until she was much older.

In 1986, she released her debut album Charlotte for Ever, which was produced by her father. In 2000, Gainsbourg was featured on the Madonna album Music on the track "What It Feels Like for a Girl". The lengthy spoken introduction by Gainsbourg is taken from the film The Cement Garden, which inspired the title of the song. The track was further remixed for a single version in 2001, with Gainsbourg's The Cement Garden speech repeated during the song.

In 2004, she sang a duet with French pop star Étienne Daho on his single "If". In 2006, Gainsbourg released her second album 5:55 to critical acclaim and commercial success, reaching the top spot on the French charts and achieving platinum status in the country. In the UK, the album was moderately successful, reaching No. 78 (The single "The Songs That We Sing" only achieved No. 129). Gainsbourg attributed the twenty-year break between her debut album and 5:55 to her father's death and her reluctance to explore a musical career without him.

In late 2009, Gainsbourg released her third studio album, IRM, which was produced by Beck. One of the influential factors in the album's creative process was her time spent filming Antichrist. Gainsbourg's head injury in 2007 influenced the title of the album "IRM", an abbreviation for the French translation of magnetic resonance imaging (MRI). During her brain scan, she began to think about music. "When I was inside that machine," she said, "it was an escape to think about music. It's rhythm. It was very chaotic."

Her song "Heaven Can Wait" was chosen as the Starbucks iTunes Pick of the Week on 2 March 2010.[32] Her song "Trick Pony" appeared at the beginning of the Grey's Anatomy episode "Perfect Little Accident" (Season 6, Episode 16/airdate: 25 February 2010), is featured on the FIFA 11 soundtrack and was used in the 2012 Teleflora Super Bowl advertisement featuring supermodel Adriana Lima.

In 2011, Gainsbourg released the double album Stage Whisper, a collection of unreleased songs from IRM and live tracks. In 2013, Gainsbourg released a cover version of the song "Hey Joe", recorded with Beck, for the soundtrack of the film Nymphomaniac, in which she was the lead actress. Her music influenced artists such as Tove Lo, who cited the simplicity and quirky lyrical content of Charlotte's IRM as the main inspiration behind her career in music and said that it "opened a new world" for her as regards sound.

Since 2014, Gainsbourg has been supporting the Hear the World Foundation as ambassador. In her role she advocates for equal opportunities and a better quality of life for people with hearing loss. She was featured in the Hear the World Calendar 2014, the proceeds of which were to benefit the foundation's projects.

Gainsbourg worked for four years, mainly in New York, with producer Sebastian Akchoté (known as SebastiAn) on her fifth studio album, titled Rest. Rest is a portrayal of her feelings after her father Serge Gainsbourg and her half-sister Kate Barry's death, with the theme of alcohol addiction. About the album, she said "The album took a different direction. I wanted to express [my grief] not only with sadness but with anger." The lyrics are in English and French.[38] In September 2017, music videos for the singles "Rest" and "Deadly Valentine" were released, both are directed by Gainsbourg herself. The music videos feature her children. The album was released on 17 November 2017.


Album:
Rest is the fifth album by French musician and actress Charlotte Gainsbourg. It was primarily produced by French electronic musician SebastiAn, and released on 17 November 2017 by Because Music. It is her first album release in six years, and features collaborations with Paul McCartney, Guy-Manuel de Homem-Christo, Owen Pallett and Connan Mockasin, among others. The tracks "Rest" and "Deadly Valentine" were released as singles and music videos, both directed by Gainsbourg herself.

The album explores the deaths of Gainsbourg's father Serge Gainsbourg and half-sister Kate Barry, with a focus on the theme of alcohol addiction. She has commented that "the album took a different direction. I wanted to express [my grief] not only with sadness but with anger." The lyrics are in English and French.

Rest received acclaim from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has an average score of 80 out of 100, which indicates "generally favorable reviews" based on 21 reviews. Olivia Horn of Pitchfork awarded the album a "Best New Music" designation, claiming "it is at once scorchingly intimate and fantastically oversized". Exclaim!'s Anna Alger praised Gainsbourg for striking "a balance between sombre beauty and a mix of Euro disco, funk and pop."
J'ai attendu qu'il pleuve
Les souvenirs m'émeuvent
Un temps sur arrêt
En chemin vers l'école
Tu chantais tes idoles
Insouciante je pensais

Tes cheveux de cendres
Une âme trop tendre
Que rien ne berçait
Regarde par l'épaule
Les yeux cernés au khôl
Tu disparaissais

Dressée à l'alcool
Sans qu'il te console

Perdue à jamais
Tu as nagé le fleuve
Forcée à l'épreuve
Tu montes au sommet
Si seule à t'attendre
Tiens mon cœur a fendre
Qu'est-ce que t'en as fait ?
En effet
Crois-tu qu'on se ressemble
On devait vieillir ensemble
Dans notre monde parfait
Imparfait

I waited for the rain to fall
Memories move me
The time at a stop
On your way to school
You sung your idols' songs
I thought you careless

Your ashen hair
Your soul so soft
That nothing could lull
Look over your shoulder
Kohl around your eyes
You would vanish

Brought up with alcohol
He would never comfort you

Forever lost
You swam the river
Forced to the test
You rise above
So alone, I wait for you
Here, my heart to tear
What have you done with it?
Indeed
Do you think we look alike
We were to grow old together
In our perfect world
Imperfect

This song is about Charlotte's sister, Kate Barry, who supposedly commited suicide (Charlotte refuses to believe this explanation). In this very moving song she describes the memories she has of their childhood together yet also far from each other.
Thanks to Solstichou on LyricsTranslate.
Last edited by Romain on Thu Apr 04, 2019 8:24 am, edited 1 time in total.

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Re: France - One song per day.

Post by Romain » Wed Mar 27, 2019 1:47 pm

Next song.

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Re: France - One song per day.

Post by Romain » Wed Mar 27, 2019 2:11 pm

Jane Birkin - Love Fifteen - 1990
Gainsbourgrien, chanson, pop

Album: Amour des feintes (RYM: 3.26/5)

Artist Biography by John Bush (Allmusic)

The heavy-breathing vocalist on one of the most infamous chart-toppers in British history, Jane Birkin enjoyed a long film and recording career. Born in London in 1946, she followed in her mother's footsteps and began acting at the Kensington Academy in London. While still a teenager, she made her stage debut in Graham Greene's 1964 production Carving a Statue. One year later, she was offered a part in Passion Flower Hotel, a musical produced by James Bond series composer John Barry, and she married him soon after. Birkin's first film, The Knack...And How to Get It, followed in 1965, while a brief nude role in 1966's controversial Blow-Up made her semi-famous.

Her marriage with Barry soon broke up, however, and a trip to France introduced her to Gallic pop star Serge Gainsbourg. The two eventually married, and Birkin lent her talents to Gainsbourg's 1969 recording of the erotic pop song "Je T'Aime...Moi Non Plus." Originally released by Fontana Records in Britain, the single was soon dropped by the label; reissued on the Major Minor imprint, it hit number one in England late that year, despite a radio ban. The collaborative LP Je T'Aime...Moi Non Plus soon followed, though Birkin spent much of the early '70s working in films. She appeared in much exploitation fare, including Sex Power, Romance of a Horse Thief, and Don Juan 73, the latter featuring her as the same-sex lover of Brigitte Bardot. With help from Gainsbourg, she recorded 1975's Lolita Go Home and 1978's Ex Fan des Sixties, gaining hits in France, if not in England.

Her marriage to Gainsbourg dissolved in 1980 (their daughter, Charlotte Gainsbourg, became a singer herself, and created a bit of controversy recording the single "Lemon Incest" with her father), and Birkin later married French director Jacques Doillon. She continued performing, acting, and making music, mostly directed to a French audience, until 2006, when she released Fictions. The album included both a Tom Waits and a Neil Young cover, along with new material from songwriters Neil Hannon of Divine Comedy, the Magic Numbers, Beth Gibbons, and Rufus Wainwright. The self-penned Enfants d'Hiver arrived in 2008 and was followed by the double-live set Au Palace a year later. In 2010, Light in the Attic reissued the classic 1969 offering Jane Birkin et Serge Gainsbourg.

Birkin didn't stop working, but focused more on touring than recording. In 2011, after the tsunami and the Fukushima nuclear disaster in Japan, Birkin gave two benefit quartet concerts and was introduced to pianist/composer and arranger Nobuyuki Nakajima, who worked extensively with Ryuichi Sakamoto and scored numerous films in his own right. The quartet's shows were so successful, they toured for two years. In 2016, the FrancoFolies Festival of Quebec commissioned Birkin to create a "Gainsbourg Symphonic" concert with the Montreal Symphony Orchestra, conducted by Simon Leclerc. Birkin and Nakajima worked with Gainsbourg's longtime producer Philippe Lerichomme. A concert documentary and subsequent press notices in Montreal prompted a European and Japanese tour. Birkin/ Gainsbourg: Le Symphonique was released by Parlophone in March of 2017, while the show was on the road. It debuted at number six on the French top albums chart, and remained in the Top 40 for 12 weeks. It re-entered the same chart in June. The recording also debuted in the number three spot on European streaming charts and remained in the Top Ten for nearly two months.

Album:
Amours des feintes is an album by Jane Birkin. The album was released in 1990 and was the last original album of songs written by Serge Gainsbourg. On the cover of the album there is a portrait of Birkin. Gainsbourg made it while he was in an emotional state of mind and that's why there are stains on the drawing because of the breaking of the pen.
Socquettes blanches tennis
Haut dénudé
Love fifteen
Et des jeans
Azurés
Quand ses yeux sur moi se glissent
Ça me fait
L'effet
Love fifteen
D'un verre de gin
Glacé

Déjouant les maléfices
Du Portrait
De Dorian Gray
Love fifteen
Elle est in
Et le sait
Descendant jusqu'aux abysses
De mes
Pensées
Love fifteen
Est–elle clean
Qui sait ?

Lolyeéenne en esquisse
ABCD
Love fifteen
A la gamine
J'ai Cédé
Elle était mon Eurydice
J 'étais
Orphée
Love fifteen
Un James Dean
Est passé

Socquettes blanches tennis
Haut dénudé
Love fifteen
Et des jeans
Azurés
Quand ses yeux sur moi se glissent
Ça me fait
L'effet
Love fifteen
D'un verre de gin
Glacé

Descendant jusqu'aux abysses
De mes
Pensées
Love fifteen
Est–elle clean
Qui sait
Elle était mon Eurydice
J'étais
Orphée
Love fifteen
Un James Dean
Est passé

Ainsi disparut Alice
C'était décidé
Love fifteen
J'ai le spleen
A jamais

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Re: France - One song per day.

Post by Romain » Fri Mar 29, 2019 8:13 am

Next song.

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Re: France - One song per day.

Post by Romain » Fri Mar 29, 2019 8:33 am

Serge Gainsbourg - Requiem pour un con - 1968
Gainsbourgrien, chanson, funk, filmmusic

Album/single : Le Pacha (RYM: 3.80/5)

Wikipédia:
Serge Gainsbourg (born Lucien Ginsburg,[5] French pronunciation: ​[sɛʁʒ ɡɛ̃sbuʁ]; 2 April 1928 – 2 March 1991) was a French singer, songwriter, pianist, film composer, poet, painter, screenwriter, writer, actor and director. Regarded as one of the most important figures in French popular music, he was renowned for his often provocative and scandalous releases, as well as his diverse artistic output, which embodied genres ranging from jazz, mambo, world, chanson, pop and yé-yé, to rock and roll, progressive rock, reggae, electronic, disco, new wave and funk. Gainsbourg's varied musical style and individuality make him difficult to categorize although his legacy has been firmly established and he is often regarded as one of the world's most influential popular musicians.

His lyrical works incorporated a vast amount of clever word play to hoodwink the listener, often for humorous, provocative, satirical or subversive reasons. Common types of word play in his songs include mondegreen, onomatopoeia, rhyme, spoonerism, dysphemism, paraprosdokian and pun. Through the course of his career, Gainsbourg wrote over 550 songs, which have been covered more than 1,000 times by a wide range of artists. Since his death, Gainsbourg's music has reached legendary stature in France, and he is regarded as one of France's most revered musicians. He has also gained a cult following in the English-speaking world, with numerous artists influenced by his arrangements.
https://en.wikipedia.org/wiki/Serge_Gainsbourg

The song (wikipédia):
Requiem pour un con is a song written by Serge Gainsbourg, co-written by himself and Michel Colombier and performed by Serge Gainsbourg, released as a single in 1968.
In 1967, Serge Gainsbourg was a renowned songwriter, but still struggled to succeed as a singer. It was then that Jean Gabin, whom he had met on the set of Le Jardinier d'Argenteuil, in which Gainsbourg had played a filmmaker and for which Gabin (also co-producer of the feature film) had asked him to compose the music, once again called on Gainsbourg to write the soundtrack to Georges Lautner's Le Pacha, whose shooting began in November, and also shot a scene in which he played his own role in a recording studio. A title recorded two months earlier, Requiem pour un con, will serve as a credits to the feature film, which the big boss of Gaumont, distributor of the film, accepts although it is not too much in the spirit of the house.

Gainsbourg wrote the text, while he composed the music with his then arranger, Michel Colombier.
A friendship, although little known, would bind Gabin and Gainsbourg, who once the Pasha scene where they appeared was shot, would talk about music, cinema, literature and the composer impressed the actor with his culture. The actor even told Lautner that he thought the song was great, adding that he had said "Requiem for a jerk? With him, things are going well. Whereas it's a little vulgar for a refrain. ».

And the scene in the film "Le Pacha"
From the 7” OST to "Le Pacha," a Jean Gabin film noir best known in America for the “impromptu” “Requiem Pour Un Con” music video contained within. After hearing about the scene for years, I finally tracked down a VHS copy of the film while in Paris in early 2001 and watched it at a friend’s flat in the Montemartre. The scene was worth the hassle. Serge, surrounded by his natty combo -- including a potential witness to the murder of Gabin’s partner -- steps up to the mic and, smoking his signature Gitanes cigarettes, belts out this proto-rap number. Gabin and his cohorts gaze at Gainsbourg through the engineer’s double paned windows in the control room. His index finger is colored yellow as a mummy’s from his habit, he embellishes each pause with a calculated throw of his head, and, all the while, you get the sense that Gainsbourg realized just how important this throwaway scene was. “C’est bon, Serge,” calls the engineer, at the end of the scene. “Voilà.” Serge walks out of the recording room, and into the history books.
npr.org

By F.F.F.
https://www.youtube.com/watch?v=Tz9VLXe6Kdo
By Martin Solveig:
https://www.youtube.com/watch?v=6Mqe3GKJyQI
By Oberkampf
https://www.youtube.com/watch?v=JaGXyxZbzCk
By L'affaire Louis Trio
https://www.youtube.com/watch?v=qPxw9WLj-uc
By Placebo:
https://www.youtube.com/watch?v=9m0UV8Nu7qI


Ecoute les orgues
Elles jouent pour toi
Il est terrible cet air là
J'espère que tu aimes
C'est assez beau non
C'est le requiem pour un con

Je l'ai composé spécialement pour toi
A ta mémoire de scélérat
C'est un joli thème
Tu ne trouves pas
Semblable à toi même
Pauvre con

Voici les orgues
Qui remettent ça
Faut qu't'apprennes par coeur cet air là
Que tu n'aies pas même
Une hésitation
Sur le requiem pour un con

Quoi tu me regardes
Tu n'apprécies pas
Mais qu'est-ce qu'y a là dedans
Qui t'plaît pas
Pour moi c'est idem
Que ça t'plaise ou non
J'te l'rejoue quand même
Pauvre con

Ecoute les orgues
Elles jouent pour toi
Il est terrible cet air là
J'espère que tu aimes
C'est assez beau non
C'est le requiem pour un con

Je l'ai composé spécialement pour toi
A ta mémoire de scélérat
Sur ta figure blême
Aux murs des prisons
J'inscrirai moi-même.
"Pauvre con !"



Listen to the organ
It plays for you
That tune is terrible
I hope you like
It's quite beautiful, isn't it?
It's the requiem for a twat

I composed it specially for you
In your sordid memory
It's a pretty theme
You don't find
The ressemblance to yourself?
Poor twat

Here's the organ
Starting again
You must learn that tune by heart
So that you don't even
Hesitate
On the requiem for a twat

What's that face for?
Don't you appreciate it?
But what is it inside
That you don't like?
Personally I don't mind
Whether you like it or not
I'll play you it again
Poor twat

Listen to the organ
It plays for you
That tune is terrible
I hope you like
It's quite beautiful, isn't it?
It's the requiem for a twat

I composed it specially for you
In your sordid memory
On your pale face
On the walls of prisons
I will write myself.
"Poor twat!"

Thanks to jaimepapier on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Thu Apr 04, 2019 8:38 am

Next song.

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Re: France - One song per day.

Post by Romain » Thu Apr 04, 2019 8:50 am

René Leibowitz - Marijuana, variations non sérieuses, Op. 54 - 1960 - Classical
Modern chamber music

For violine, posaune, vibraphone, 7 piano

Wikipédia:
René Leibowitz (17 February 1913 – 29 August 1972) was a Polish, later naturalised French, composer, conductor, music theorist and teacher. He was historically significant in promoting the music of the Second Viennese School in Paris after the Second World War, and teaching a new generation of serialist composers.

In Paris Leibowitz earned his living as a jazz pianist and composed constantly. In his early twenties he married an artist from an illustrious French family and settled down in Paris, eventually taking French nationality. During the early 1930s he was introduced to Schoenberg's twelve-note technique by the German pianist and composer Erich Itor Kahn. Maguire writes that Leibowitz easily fitted into "the ebullient intellectual and artistic climate of Paris in the pre-war years". His aesthetic interests were not confined to music, and he became friendly with leading figures from the world of modern art, notably André Masson and Pablo Picasso, and with literary figures including Jean-Paul Sartre, Simone de Beauvoir and Albert Camus. For Leibowitz composing was his most regular activity, and the one he thought most important, although he was known more for his commentaries, his critical and analytical writings, his conducting, and his teaching, all of which he considered secondary.

Leibowitz remained firmly committed to the musical aesthetic of Arnold Schoenberg, and was to some extent sidelined among the French avant-garde in the 1950s, when, under the influence of Leibowitz's former student, Pierre Boulez and others, the music of Schoenberg's pupil Anton Webern was adopted as the orthodox model by younger composers.
After 1945, René Leibowitz was one of the leading European advocates of the works of the Second Viennese School, in Paris above all but also at the Internationale Ferienkurse in Darmstadt starting in 1946. What is less known, however, is Leibowitzs compositional œuvre, comprising over 90 works in practically all genres. Even though he always insisted on the necessity of an interplay between theory and practice, composed continuously for forty years, and was not indifferent to the success of his works, he was remarkably circumspect as a composer. His first works date from the 1930s; his firth opera, Todos caeran, based on an originally libretto, was completed in 1972, shortly before his death. Both his musical philosophy and his works are indebted to the œuvre of Arnold Schoenberg. Throughout his life, Leibowitz held Schoenberg up as his model and honored the unyieldingness with which Schoenberg spurred on musical developments from the spirit of tradition. In the center of Leibowitzs interest in Schoenberg was the twelve-tone technique which he clung to even though it meant isolation from his contemporaries. Leibowitz saw the uniqueness of this compositional method in the synthesis of constructive discipline and inventive freedom. It was the task of the followers of the Schoenberg school to plumb the depths of this methods possibilities, which were far from exhausted.

Although Leibowitz was receptive to a wide range of musical styles, he could not bear the music of Sibelius, and published a pamphlet about him under the title of Sibelius: the Worst Composer in the World; he also severely criticised Bartók for writing music that was too accessible: Leibowitz felt that by failing to adopt dodecaphony in his later works Bartók was pandering to popular taste rather than helping to move music away from tonality in accordance with Leibowitz's notions of historical inevitability and composers' duty. For Leibowitz, to write a popular work like Bartók's Concerto for Orchestra was a betrayal of modernism.

After World War II, young composers like Pierre Boulez and Hans Werner Henze went directly to Leibowitz to learn about the twelve-tone technique. In the zero hour, young composers hoped that the then widely unknown method would lead to a new beginning. However, Leibowitzs reliance on a traditional access to music soon came in conflict with the zeitgeist. This had become obvious to all at the latest in 1951, when Pierre Boulez, the spokesman of the French avant-garde, gave his lecture Schoenberg is dead in Darmstadt. It was a symbolic farewell to this traditional-mindedness. Serial music came to dominate contemporary musical development, forcing Leibowitz to withdraw from the public eye.

Leibowitz died suddenly in Paris on 28 August 1972, at the age of 59.
Dodecaphonisme ?

The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th-century composers. Many important composers who had originally not subscribed to or even actively opposed the technique, such as Aaron Copland and Igor Stravinsky, eventually adopted it in their music.

Schoenberg himself described the system as a "Method of composing with twelve tones which are related only with one another". It is commonly considered a form of serialism.

Schoenberg's fellow countryman and contemporary Josef Matthias Hauer also developed a similar system using unordered hexachords or tropes—but with no connection to Schoenberg's twelve-tone technique. Other composers have created systematic use of the chromatic scale, but Schoenberg's method is considered to be historically and aesthetically most significant.
https://en.wikipedia.org/wiki/Twelve-tone_technique

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Romain
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