France - One song per day.

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Romain
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Posts: 3835
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Postby Romain » Sun Apr 07, 2019 5:36 pm

Françoise Hardy - Mon amie la rose - 1964
Chanson, yé-yé, pop

Album: Mon amie la rose (RYM: 3.66/5)

Wikipédia:
Françoise Madeleine Hardy (French: [fʁɑ̃swaz aʁdi]; born 17 January 1944) is a French singer-songwriter. She made her musical debut in the early 1960s on Disques Vogue and found immediate success with her song "Tous les garçons et les filles". As a leading figure of the yé-yé movement, Hardy "found herself at the very forefront of the French music scene", and became "France's most exportable female singing star", recording in various languages, appearing in several movies, touring throughout Europe, and gaining admiration from musicians such as Bob Dylan, Miles Davis and Mick Jagger. With the aid of photographer Jean-Marie Périer, Hardy also began modeling, and soon became a popular fashion icon as well.

As the yé-yé era drew to a close in the late 1960s, Hardy sought to reinvent herself, casting off the fashionable girl next door image that Périer had created for her and abandoning the "cute" and catchy compositions that had characterized her repertoire up to that point; working with more accomplished songwriters such as Serge Gainsbourg, and Patrick Modiano. Her 1971 album La question represented an important turning point in her career, moving towards a more mature style; it remains her most acclaimed work and has generated a dedicated cult following over the years. The early 1970s also marked the beginning of Hardy's renowned involvement with astrology, becoming an expert and writer on the subject over the years.

Hardy remains a popular figure in music and fashion, and is considered an icon of French pop and of the 1960s. The singer is also considered a gay icon and has "repeatedly declared that her most devoted friends and fans are gay." Several of her songs and albums have appeared in critics' lists.

Chanson:
"Mon amie la rose" is a poem written by Cécile Caulier and Jacques Lacome, originally performed in song by French singer Françoise Hardy in 1964. It became one of Hardy's most popular songs, and was collected on her album Mon amie la rose.
The song was written in response to the death of actress Sylvia Lopez from leukemia in 1959. It was first presented by Cécile Caulier on the French variety series Le Petit Conservatoire de la chanson. Françoise Hardy then contacted Caulier and offered to record the song for her 1964 album.

Yé-yé?
Yé-yé (French pronunciation: ​[jeje]) was a style of pop music that emerged from Southern Europe in the early 1960s. The term "yé-yé" was derived from the English term "yeah! yeah!", popularized by British beat music bands such as the Beatles. The style expanded worldwide, due to the success of figures such as the French singer-songwriters Serge Gainsbourg and Françoise Hardy. Yé-yé was a particular form of counterculture, deriving most of its inspiration from UK or American rock and roll. Additional stylistic elements of yé-yé song composition include baroque, exotica, pop, jazz, and the French chanson.

The yé-yé movement had its origins in the radio programme Salut les copains (loosely translated as "hello mates" or "hello pals"), created by Jean Frydman and hosted by Daniel Filipacchi and Frank Ténot, which was first aired in December 1959. In fact the phrase "Salut les copains" dates back to the title of a 1957 song by Gilbert Bécaud and Pierre Delanoë, who had little regard for the yé-yé music the radio show typically featured. The program became an immediate success and one of its sections ("le chouchou de la semaine" / "this week's sweetheart") became the starting point for most yé-yé singers. Any song that was presented as a chouchou went straight to the top places in the charts. The Salut les copains phenomenon continued with the magazine of the same name, which was first published in 1962 in France, with German, Spanish, and Italian ("Ciao Amici") editions following shortly afterward.




On est bien peu de chose
Et mon amie la rose
Me l'a dit ce matin
À l'aurore je suis née
Baptisée de rosée
Je me suis épanouie
Heureuse et amoureuse
Aux rayons du soleil
Me suis fermée la nuit
Me suis réveillée vieille

Pourtant j'étais très belle
Oui, j'étais la plus belle
Des fleurs de ton jardin

On est bien peu de chose
Et mon amie la rose
Me l'a dit ce matin
Vois le dieu qui m'a faite
Me fait courber la tête
Et je sens que je tombe
Et je sens que je tombe
Mon cœur est presque nu
J'ai le pied dans la tombe
Déjà je ne suis plus

Tu m'admirais hier
Et je serai poussière
Pour toujours demain.

On est bien peu de chose
Et mon amie la rose
Est morte ce matin
La lune cette nuit
A veillé mon amie
Moi en rêve j'ai vu
Eblouissante et nue
Son âme qui dansait
Bien au-delà des nues
Et qui me souriait

Crois celui qui peut croire
Moi, j'ai besoin d'espoir
Sinon je ne suis rien

Ou bien si peu de chose
C'est mon amie la rose
Qui l'a dit hier matin.

A Life time comes and goes..
And my friend the rose
Told me this morning
At dawn I was born
Baptized with the dew
I blossomed
Happy and in love
The sun shined through
And by the night time I was old

At least there have never been
A rose as beautiful as me
In the flowers of your garden

A Life time comes and goes…
And my friend the rose
Told me this morning
See the God who
Made me Bow my head
I feel I’m falling now
Yes, I’m falling now
My heart is almost bare
My feet is in the grave
Already I’m no longer there

You admired me yesterday
And I'll be gone just as dust
Tomorrow forever…

A life time comes and goes
And so my friend the rose
Died this morning
The moon is shining bright
And I dreamed tonight
Dazzling and naked
His soul dancing
Far beyond the clouds
And smiled…

The ones who can believe
Me, I need to hope
Otherwise I ‘m nothing

A Life time comes and goes
That’s what my friend the rose
Said only yesterday…

Thanks to Noushin Sanaye on LyricsTranslate.

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Romain
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Posts: 3835
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Postby Romain » Wed Apr 10, 2019 6:23 am

Page 9 Adam De La Halle - Jeu de Robin et Marion - 1282 or 1283 - Classical
Page 23 Philippe De Vitry - In Arboris - 1320 - Classical
Page 25 Josquin des Prez - Ave Maria ... Virgo serena - 1485 - Classical
Page 27 Clément Janequin - Le chant des Oyseaulx - 1537 - Classical
Page 35 Nicolas Gombert - In Te Domine Speravi - Motet à six voix - 1539 - Classical
Page 16 Jean-Baptiste Lully - Marche pour la cérémonie des turcs - 1670 - Classical
Page 14 Marc-Antoine Charpentier - Te Deum - 1688/1698 - Classical
Page 29 Michel Richard Delalande - Simphonies pour le Soupers du Roy - Concert de trompettes - 1703 - Classical
Page 32 Jean-Philippe Rameau - Rondeau des Indes galantes (Les sauvages) - 1735 - Classical
Page 16 Claude Joseph Rouget De Lisle - Chant de Guerre pour l'Armée du Rhin ou La Marseillaise - 1792
Page 25 Hector Berlioz - Symphonie Fantastique - Marche au supplice - 1830 - Classical
Page 26 Unknown - Les anges dans nos campagnes - before 1846 - Classical
Page 11 Adolphe Adam - Minuit, chrétiens - 1847 - Classical
Page 33 Charles Gounoud - Ave Maria - 1853 - Classical
Page 5 Édouard-Léon Scott de Martinville - Au clair de la lune - First recorded song - 1860
Page 34 Jean-Romain Grosjean - Il est né le divin enfant - 1862
Page 1 Georges Bizet - Le pêcheur de perles - Je crois entendre encore - 1863 - Classical
Page 27 Jean-Baptiste Clément / Antoine Renard - Le temps des cerises - 1866
Page 30 Louis Théodore Gouvy - Requiem op.70 - 1874 - Classical
Page 4 Camille Saint-Saëns - Danse Macabre op 40 - 1874 - Classical
Page 20 Charles-Marie Widor - Symphonie pour orgue n°5 - Toccata - 1879 - Classical
Page 6 Gabriel Fauré - Élégie pour violoncelle et piano, op 24 - 1880 - Classical
Page 7 Jacques Offenbach - Les contes d'Hoffmann - Belle nuit, ô nuit d'amour - 1881 - Classical
Page 11 Léo Delibes - Lakmé - Duo des fleurs - 1883 - Classical
Page 19 Emmanuel Chabrier - España - 1883 - Classical
Page 30 Yvette Guilbert - Le fiacre - 1888
Page 3 Erik Satie - Gymnopédie n°3 - 1888 - Classical
Page 18 Vincent D'Indy - Tableaux de voyage op.33 - Le Glas - 1889 - Classical
Page 35 Erik Satie - Gnossienne n°1 - 1890 - Classical
Page 13 Ernest Chausson - Concert pour violon, piano et quatuor à cordes en Ré majeur op.21 - Sicilienne - 1892 - Classical
Page 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 35 Fréhel - La java bleue - 1939
Page 21 Jean Lumière - La valse au village - 1939
Page 31 Albert Préjean - Amusez-vous ! - 1939
Page 18 GusViseur - Flambée Montalbanaise - 1940 - Jazz
Page 34 Django Reinhart - Nuages - 1940 - Jazz
Page 14 Léo Marjane - Je suis seule ce soir - 1941
Page 12 Anna Marly - Le chant des partisans - 1941
Page 28 Marie Bizet - Rythme et swing - 1942
Page 3 Lucienne Delyle - Mon amant de Saint-Jean - 1942
Page 2 Charles Trenet - Que Reste-t'il de nos amours ? - 1942
Page 20 Lina Margy - Ah ! Le petit vin blanc - 1943
Page 12 Anna Marly - La complainte du partisan - 1943
Page 4 Yves Montand - Les Feuilles Mortes - 1945
Page 8 Luis Mariano - La Belle de Cadix - 1945
Page 29 Colette Mars - Le vent emporte ma chanson - 1946
Page 18 Tino Rossi - Petit papa Noël - 1946
Page 23 Fernand Sardou - Aujourd'hui peut-être - 1946
Page 35 Charles Trenet - La mer - 1946
Page 19 Henri Betti - C'est si bon - 1947
Page 29 Pierre Dudan - Clopin-Clopant - 1947
Page 14 Line Renaud - Ma cabane au Canada - 1947
Page 27 Jacqueline François - Mademoiselle de Paris - 1948
Page 24 Pierre Schaeffer - Cinq Etudes de bruits - 1948 - Classical & Electro
Page 12 Francis Lemarque - À Paris - 1949
Page 24 Francis Lemarque - Bal, petit bal - 1949
Page 33 Edith Piaf - Hymne à l'amour - 1949

Page 22 André Claveau - Domino - 1950
Page 3 Henri Salvador - Le loup, la biche et le chevalier (une chanson douce) - 1950
Page 11 Jean Bretonnière - Sous le ciel de Paris - 1951
Page 17 Mick Micheyl - Un gamin de Paris -1951
Page 25 Marcel Mouloudji - Comme un p'tit coquelicot - 1951
Page 1 Brassens & Patachou - Maman, papa - 1952
Page 14 Georges Guetary - La route Fleurie - 1952
Page 33 Georges Brassens - La marine - 1953
Page 7 Maurice Chevalier - Dans la vie faut pas s'en faire - 1953
Page 13 Alain Romans - Quel temps fait-il à Paris - 1953 - OST & Jazz
Page 30 Marcel Landowski - Concerto pour ondes Martenot orchestre à cordes et percussions - 1954 - Classical
Page 13 Cora Vaucaire - La Complainte de la Butte - 1955
Page 9 Boris Vian - Je Bois - 1955
Page 17 René-Louis Lafforgue - Le poseur de rails - 1956
Page 1 Magali Noël - Fais-moi mal, Johnny - 1956
Page 25 Léo Arnaud - Bugler's Dream - 1958 - Classical
Page 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 35 René Leibowitz - Marijuana, variations non sérieuses, Op. 54 - 1960 - Classical
Page 4 Juliette Gréco - Il n'y a plus d'après - 1960
Page 13 Gilian Hills - Zou bisou bisou - 1960
Page 23 André Hodeir - Jazz et Jazz - 1960 - Jazz
Page 6 Edith Piaf - Non, je ne regrette rien - 1960 
Page 29 Paul Blamar - Moin çé on maléré - 1961
Page 15 Les Double Six - Tickle Toe (Le racket et les balles) - 1961 - Jazz
Page 11 Zizi Jeanmaire - Mon truc en plumes - 1961
Page 14 Marcel Amont - Un Mexicain - 1962
Page 18 Isabelle Aubret - Un premier amour - 1962
Page 24 Leny Escudero - Pour une amourette - 1962
Page 27 Les Fantômes - Cafards - 1962
Page 12 Maurice Jarre - Lawrence of Arabia - 1962 - OST
Page 19 Michel Magne - Mélodie en sous-sol - Palm Beach thème - 1962 - OST & Jazz
Page 35 Claude Nougaro - Le cinéma - 1962
Page 10 Francis Poulenc - Sonate pour clarinette, 2ème mouvement : Romanza - 1962 - Classical
Page 4 Salvatore Adamo - Tombe la neige - 1963
Page 9 Alain Barrière - Elle était si jolie - 1963
Page 21 Patricia Carli - Demain, tu te maries - 1963
Page 6 Georges Delerue - Le Mépris - Camille - 1963 - OST
Page 24 Colette Dereal - La valse folle - 1963
Page 26 Alice Dona - C'est pas prudent - 1963
Page 22 Colette Magny - Melocoton - 1963
Page 20 Les Mustangs - Drums - 1963
Page 9 Claude Nougaro - Cécile ma fille - 1963 
Page 11 Colette Renard - Les nuits d'une demoiselle - 1963
Page 9 Sheila - L'école est finie - 1963 
Page 7 Soeur Sourire - Dominique - 1963
Page 23 Hélène April - Je m'ennuie - 1964
Page 34 Charles Aznavour - Hier encore - 1964
Page 2 Gilbert Bécaud - Nathalie - 1964
Page 33 Jacques Brel - Amsterdam - 1964
Page 20 Annie Cordy - Six roses - 1964
Page 12 Henri Dutilleux - Métaboles - 1964 - Classical
Page 4 Jean Ferrat - Que serais-je sans toi ? - 1964
Page 2 France Gall - Laisse tomber les filles - 1964
Page 32 Les Gam's - L'été reviendra - 1964
Page 34 Geneviève Grad - Douliou douliou Saint-Tropez - 1964
Page 36 Françoise Hardy - Mon amie la rose - 1964
Page 2 Françoise Hardy - La Nuit Est Sur La Ville - 1964
Page 34 Michel Legrand - Les parapluies de Cherbourg - Je ne pourrai jamais vivre sans toi - 1964 - OST
Page 30 Félix Marten - T'es moche - 1964
Page 3 Les Parisiennes - Il fait trop beau pour travailler - 1964
Page 25 Rachel - Le chant de mallory - 1964
Page 34 Sylvie Vartan - La plus belle pour aller danser - 1964
Page 29 François Deguelt - Le ciel, le soleil et la mer - 1965
Page 8 Antoine Duhamel - Pierrot Le Fou - Ferdinand - 1965 - OST
Page 22 Gribouille - Mathias - 1965
Page 19 Chantal Kelly - Mon ami, mon chien - 1965
Page 27 Marjorie Noël - Dans le même wagon - 1965
Page 10 Les Problèmes - Non, je ne vois rien - 1965
Page 15 Annie Philippe - Tout finit à St. Tropez - 1965
Page 4 Régine - Les P'tits papiers - 1965
Page 5 Hervé Vilard - Capri, c'est fini - 1965
Page 5 Antoine - Les élucubrations - 1966
Page 24 Adèle - Je ne veux plus d'accordéon - 1966
Page 8 Michèle Arnaud - les papillons Noirs - 1966
Page 4 Hugues Aufray - Céline - 1966
Page 25 Pierre Barouh - A l'ombre de nous - 1966
Page 26 Les Bowlers - Il est trop tard - 1966
Page 29 Cléo - Et moi, et toi, et soie - 1966
Page 5 Pascal Danel - Les neiges du Kilimanjaro - 1966
Page 15 Chantal Goya - Si tu gagnes au flipper - 1966
Page 9 Francis Lai - Un homme et une femme - 1966 - OST 
Page 10 Les 5 Gentlemen - Si tu reviens chez moi - 1966
Page 14 Les Pros - Drugstore Midnight - 1966
Page 15 Long Chris - Névralgie Particulière - 1966
Page 3 Mireille Mathieu - Paris en colère - 1966
Page 16 Gilbert Safrani - Les gens s'en vont dans le ciel - 1966
Page 24 Structures Sonores Lasry-Baschet - Manège - 1966 - Classical
Page 25 Les Troubadours - La ballade Polly Maggoo - 1966
Page 14 Zouzou - Il est parti comme il est venu - 1966
Page 10 Charles Aznavour - Emmenez-moi - 1967
Page 1 Brigitte Bardot - Harley Davidson - 1967
Page 22 Clothilde - Saperlipopette - 1967
Page 28 Évariste - Les pommes de lune - 1967
Page 35 Juliette Greco - Déshabillez-moi - 1967
Page 2 Pierre Henry - Psyché Rock - 1967 - Classical & Electro
Page 16 Marie Laforêt - Mon amour, mon ami - 1967
Page 14 Christie Laume - Rouge Rouge - 1967
Page 30 Michel Legrand - Les demoiselles de Rochefort - Thème d'Andy - 1967 - OST
Page 32 Charlotte Leslie - Les filles, c'est fait pour faire l'amour - 1967
Page 16 Christine Pilzer - Ah-Hem-Ho-Uh-Err - 1967
Page 21 Guy Skornik - Fire - 1967
Page 4 Stella - Si vous connaissez quelque-chose de pire qu'un vampire, parlez m'en toujours, ça pourra peut-être me faire sourire - 1967
Page 7 Jacqueline Taïeb - 7 heures du matin - 1967
Page 10 Dominique Walter - Les petits boudins - 1967
Page 28 Arlette Zola - Deux garçons pour une fille - 1967
Page 2 Barbara - Du bout des lèvres - 1968
Page 18 Barbara - Mon enfance - 1968
Page 23 Richard de Bordeaux & Daniel Beretta - La drogue - 1968
Page 33 Georges Chelon - Nous on s'aime - 1968
Page 1 Jacques Dutronc - Proverbes - 1968
Page 34 Jacques Dutronc - Il est cinq heures, Paris s'éveille - 1968
Page 4 Claude François - Comme d'habitude - 1968
Page 33 Serge Gainsbourg et Brigitte Bardot - Bonnie & Clyde - 1968
Page 35 Serge Gainsbourg - Requiem pour un con - 1968
Page 8 Les Goths - Turn Over - 1968
Page 18 Sophie Makhno - Obsessions 68 - 1968
Page 5 Jean-François Michael - Adieu, jolie Candy - 1968
Page 33 The piranha' sounds - La turbie piranhienne - 1968
Page 1 Michel Polnareff - Le bal des Laze - 1968
Page 21 Jean-Claude Risset - Computer suite for little boy - 1968 - Classical
Page 21 Victoire Scott - Quatrième Dimension - 1968
Page 18 Patrick Abrial - Fétiche - 1969
Page 18 Alec - L'étranger - 1969
Page 31 Les Apollos & la Danse Cosmique - Cosmonautic Blues - 1969
Page 13 Ronnie Bird - Sad Soul - 1969
Page 19 Jacques Charpentier - Pour le Kama Soutra - 1969 - Classical
Page 30 Le cœur - Un soleil assis dans la neige - 1969
Page 11 Pierre-Alain Dahan - Slowrama - 1969
Page 11 Mireille Darc - Hélicoptère - 1969
Page 20 Eric Demarsan - L'armée des ombres - Thème de Gerbier - 1969 - OST
Page 29 Dickens - Génocide - 1969
Page 19 Docdaïl - Aere Perennius - 1969
Page 31 Pierre Dutour - Tracking - 1969
Page 3 Serge Gainsbourg - Je t'aime... moi non plus ! - 1969
Page 32 Les Landles - Le monde est mort - 1969
Page 35 Boby Lapointe - Je suis né au Chili - 1969
Page 34 Jean-Pierre Lugan - Le petit proton soviétique - 1969
Page 19 Le Système Crapoutchik - L'horrible rêve - 1969
Page 22 Georges Garvarentz - Le temps des loups - OST - 1969
Page 6 Michel Legrand - Les moulins de mon coeur - 1969
Page 27 Michèle Mercier - Six-Huit - 1969
Page 9 Jean-Pierre Mirouze - Sexopolis - Thème - 1969 - OST
Page 4 Georges Moustaki - Le Métèque - 1969
Page 18 Jean-Claude Oliver - L'invité - 1969
Page 16 Roland Vincent - L.S.D. partie - 1969

Pagr 26 Ame Son - A coup de hache - 1970 - Jazz
Page 21 Jack Arel - Picture of Spring - 1970
Page 15 Baroque Jazz Trio - Zoma - 1970 - Jazz
Page 31 Big Jullien and His All Star - Wake the monster - 1970 -Jazz
Page 14 Claude Bolling - Borsalino - Thème - 1970 - OST
Page 7 François De Roubaix - Dernier Domicile Connu - 1970 - OST
Page 20 Jean-Pierre Ferland - Le chat du café des artistes - 1970
Page 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 35 Bimbo Jet - El Bimbo - 1974
Page 2 Christophe - Les Mots Bleus - 1974 
Page 24 Marcel Dadi - Le derviche tourneur - 1974
Page 3 Dalida - Il venait d'avoir 18 ans - 1974
Page 26 Bernard Estardy - Gang Train - 1974
Page 1 Nino Ferrer - Le sud - 1974
Page 3 Daniel Guichard - Mon vieux - 1974
Page 20 Jean-Claude Pelletier - Hello Streakers! - 1974
Page 33 Atoll - L'araignée-Mal - 1975
Page 20 Joe Dassin - L'été indien - 1975
Page 18 Cortex - La rue - 1975 - Jazz
Page 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 35 Nicolas Peyrac - Et mon père - 1975
Page 20 Pulsar - Pollen - 1975 - Electro
Page 8 Resonance - OK Chicago - 1975
Page 6 Jean Yanne - Chobizeness - Coït - 1975 - OST
Page 3 Jane Birkin - Ballade de Johnny Jane - 1976
Page 32 Cerrone - Love in C Minor - 1976
Page 24 Richard Clayderman - Ballade Pour Adeline - 1976
Page 4 Jean-Michel Jarre - Oxygène Part IV - 1976 - Electro
Page 16 Michel Colombier - L'Alpagueur - Main Theme - 1976 - OST
Page 30 Dick Rivers - Faire un pont - 1976
Page 3 Philippe Sarde - Le locataire - Main theme - 1976 - OST
Page 13 The Droids - The Force - 1976 - Electro
Page 10 Wapassou - Messe en ré mineur - 1976
Page 23 Cerrone - Supernature - 1977
Page 6 Philippe Chatel - J't'aime bien Lili - 1977
Page 12 Yves Duteil - Prendre un enfant - 1977
Page 7 Little Bob Story - Riot in Toulouse - 1977
Page 28 Moon Birds - Cristal N°3 - 1977
Page 5 Marie Myriam - L'enfant et l'oiseau - 1977
Page 7 Plastic Bertrand - Ça plane pour moi - 1977
Page 9 Jean-Luc Ponty - Mirage - 1977 - Jazz
Page 11 Zachary Richard - Travailler, c'est trop dur - 1977
Page 23 Yves Simon - Diabolo Menthe - 1977
Page 3 SpAce - Magic Fly - 1977 - Electro
Page 9 Space Art - Onyx - 1977 - Electro
Page 16 A 3 Dans les WC - Contagion - 1978
Page 15 Black Devil - H-Friend - 1978 - Electro
Page 31 Bulldozer - J'suis punk - 1978
Page 12 Louis Chédid - T'as beau pas être beau - 1978
Page 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 35 Pijon - Cache cache party - 1986
Page 7 Stephanie de Monaco - Ouragan - 1986
Page 2 Mylène Farmer - Libertine - 1986
Page 4 La Compagnie Créole - Ca fait rire les oiseaux - 1986
Page 19 Francis Lalanne - On se retrouvera - 1986
Page 19 Les Ablettes - Jackie s'en fout - 1986
Page 10 Images - Les démons de minuit - 1986
Page 6 Elli Medeiros - Toi mon toit - 1986
Page 28 Ludwig Von 88 - Bière et punk - 1986
Page 14 Parabellum - Cayenne - 1986
Page 35 Philippe Russo - Magie noire - 1986
Page 25 Trisomie 21 - The last song - 1986
Page 20 Arnold Turboust - Adelaïde - 1986
Page 19 À Caus' des Garçons - À Cause des Garçons - 1987
Page 17 Anyway - Face au monde - 1987
Page 26 Art Zoyd - Baboon's Blood - 1987
Page 4 Jean-Louis Aubert - Les plages - 1987
Page 16 Louis Bertignac - Ces idées-là - 1987
Page 5 Desireless - Voyage Voyage - 1987
Page 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 35 Dédé Saint-Prix - Mi sé sa - 1988
Page 34 Richard Desjardins - Les Yankees - 1988
Page 9 Les Garçons Bouchers - Carnivore - 1988
Page 12 Gipsy King - Djobi Djoba - 1988
Page 35 Jacques Higelin - Tombé du ciel - 1988
Page 28 Véronique Jannot - Aviateurs - 1988
Page 3 Bernard Lavilliers - On The Road Again - 1988
Page 12 Lightwave - Le Parvis - 1988 - Electro
Page 22 Mano Negra - Mala Vida - 1988
Page 1 Les Négresses Vertes - Voilà L'été - 1988 
Page 13 Norma Loy - Power of spirit - 1988
Page 6 Princess Erika - Trop de Bla-bla - 1988
Page 11 Eric Serra - Le grand bleu - Theme - 1988 - OST
Page 24 Soldat Louis - Du rhum, des femmes - 1988
Page 23 Tristan - Bonne bonne humeur ce matin - 1988
Page 21 Dominic Sonic - When My Tears Run Cold - 1989
Page 15 Jad Wio - Ophélie - 1989
Page 23 Maurane - Toutes les mamas - 1989
Page 1 Richard Gotainer - Le Combat De Rock - 1989 
Page 3 Zouk Machine - Maldòn (La musique dans la peau) - 1989

Page 21 Michel Berger - Le paradis blanc - 1990
Page 18 Elmer Food Beat - Daniela - 1990
Page 35 Jane Birkin - Love Fifteen - 1990
Page 7 Pauline Ester - Oui, je l'adore - 1990
Page 12 Liane Foly - Au fur et à mesure - 1990
Page 34 Les Freluquets - La débauche - 1990
Page 5 Thierry Hazard - Le Jerk - 1990
Page 24 Little Nemo - L'heure d'hiver - 1990
Page 2 Niagara - J'ai Vu - 1990
Page 18 Vanessa Paradis - Tandem - 1990
Page 1 Pigalle - Dans la salle du bar tabac de la rue des Martyrs - 1990
Page 17 Diane Tell - La légende de jimmy - 1990
Page 19 Joëlle Ursull - White & Black Blues - 1990
Page 25 Les Wampas - Petite fille - 1990
Page 22 Assassin - Esclave de votre société - 1991
Page 4 Au P'tit Bonheur - J'Veux du Soleil - 1991
Page 19 Dany Brillant - Suzette - 1991
Page 27 Jil Caplan - Tout c'qui nous sépare - 1991
Page 9 Fédération Française de Funk - New Funk Génération - 1991
Page 24 Kent - Tous les mômes - 1991
Page 6 Les Inconnus - Auteuil, Neuilly, Passy - 1991
Page 14 Jean-Louis Murat - Col de la Croix-Morand - 1991
Page 1 Les Rita Mitsouko - Les Amants - 1991
Page 34 Yannick Noah - Saga Africa - 1991
Page 21 Peter Kitsch - Come On sur mon scoot - 1991
Page 30 Les Rats - Je m'emmerde - 1991
Page 2 William Sheller - un Homme Heureux - 1991
Page 2 Mc Solaar - Bouge de là ! - 1991
Page 28 Caline Georgette - On danse - 1992
Page 18 Deep Forest - Sweet Lullaby - 1992
Page 34 Noir Désir - Tostaky (Le continent) - 1992
Page 10 Les innocents - L'autre Finistère - 1992
Page 10 Pow Wow - Le Chat - 1992
Page 19 Regg'Lyss - Mets de l'huile - 1992
Page 27 Les VRP - Aujourd'hui, c'est dimanche - 1992
Page 2 L'affaire Louis Trio - Mobilis In Mobile - 1993 
Page 31 Âme strong S.A. - Tout est bleu - 1993 - Electro
Page 13 Billy Ze Kick - Mangez-moi ! Mangez-moi ! - 1993
Page 17 Alain Chamfort - L'ennemi dans la glace - 1993
Page 23 Pascal Comelade - Promenade des Schizophrenes - 1993
Page 24 Enzo Enzo - Juste quelqu'un de bien - 1993
Page 33 Loudblast - Cross the Threshold - 1993
Page 17 Axelle Red - Sensualité - 1993
Page 2 Alain Souchon - Foule Sentimentale - 1993 
Page 10 Les Thugs - As happy as possible - 1993
Page 7 Pierre Vassiliu - La vie ça va - 1993
Page 33 Alai Bashung - Ma petite entreprise - 1994
Page 13 Daran et les chaises - Dormir dehors - 1994
Page 7 Gérald De Palmas - Sur La Route - 1994
Page 2 IAM - Le Mia - 1994
Page 20 Lynda Lemay - Le plus fort, c'est mon père - 1994
Page 15 Ministère A.M.E.R. - Plus vite que les balles - 1994
Page 15 Alliance Ethnik - Respect - 1995
Page 29 Arno - Les yeux de ma mère - 1995
Page 26 Blankass - La couleur des blés - 1995
Page 4 Dominique A - Le Twenty-Two bar - 1995
Page 24 Miossec - Non non non non - 1995
Page 21 Mütiilation - Born Under the Master’s Spell - 1995
Page 11 Kat Onoma - La Chambre - 1995
Page 26 Silmarils - Cours vite ! - 1995
Page 2 Suprême NTM - Paris sous les bombes - 1995 
Page 30 Blaszcyk et Les Electrolux - Pour vous Madame - 1996
Page 13 Diabologum - La Maman et la Putain - 1996
Page 5 Dimitri from Paris - Sacré Français - 1996 - Electro
Page 6 Doc Gynéco - Nirvana - 1996
Page 33 G-Squad - Aucune fille au monde - 1996
Page 4 Juliette - Rimes Féminines - 1996
Page 6 Khaled - Aïcha - 1996
Page 8 Valérie Lemercier - Goûte mes frites - 1996
Page 20 Philippe Léotard - Lonesome Piéton - 1996
Page 30 Nuttea - La weed brûle - 1996
Page 29 Manu le Malin - An old dream - 1996 - Electro
Page 14 Motorbass - Flying Fingers - 1996
Page 32 Sloy - Idolize - 1996
Page 3 Yann Tiersen - J'suis jamais allé - 1996
Page 17 Tonton David - Chacun sa route - 1996
Page 8 Ophélie Winter - Dieu m'a donné la foi - 1996
Page 25 Gabriel Yared - The English Patient - Theme - 1996 - OST
Page 3 Daft Punk - Around The World - 1997 - Electro
Page 35 Daft Punk - Da Funk - 1997 - Electro
Page 21 Dolly - Je n'veux pas rester sage - 1997
Page 6 Era - Ameno - 1997
Page 21 Faudel - Tellement je t'aime - 1997
Page 12 Laurent Garnier - Crispy Bacon - 1997 - Electro
Page 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 35 -M- - Onde sensuelle - 1999
Page 25 Mass Hysteria - Contraddiction - 1999
Page 6 Mr Oizo - Flat Beat - 1999 - Electro
Page 7 Michel Petrucciani - Brazilian Like - 1999 - Jazz
Page 10 Saïan Supa Crew - Angela - 1999
Page 29 Damien Saez - Jeune et con - 1999
Page 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 35 Natural Snow Buildings - Sun Tower - 2015
Page 31 Ofenbach - Be mine - 2016
Page 35 Pneu - Catadioptre Ambidextre - 2015
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 35 Dionysos - Guerrier de porcelaine - 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 35 Charlotte Gainsbourg - Kate - 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 35 Lomepal - Trop beau - 2018
Page 32 Aya Nakamura - Djadja - 2018
Page 35 Le Superhomard - Paper Girl - 2019

Before 50's 94
50's 25
60's 129
70's 122
80's 126
90's 123
00's 117
10's 122
858

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Romain
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Re: France - One song per day.

Postby Romain » Wed Apr 10, 2019 2:48 pm

Toufic Farroukh - Villes invisibles - 2017 - Jazz

Albums: Villes invisibles (RYM: 3,50/5)

Toufic Farroukh (Arabic: توفيق فرّوخ‎) is a Franco-Lebanese jazz composer, working in France.

Toufic Farroukh is a saxophone player and composer of jazz with a middle-eastern flavour stemming from his bi-cultural roots in Lebanon and France.

His brother, a saxophone player, guided him in learning to play the instrument and taught him the basics. He was an amateur who instilled in Toufic the love of professionalism. They had discovered the saxophone in the Boy Scouts. The instrument was strange to their environment; unconventional, and used only for certain occasions.

Farroukh moved from Beirut to Paris, where he studied music in the conservatory and in the Advanced College of Music, saxophone was his principal instrument. He did not study jazz and its roots at all, nor played jazz on the saxophone.

His first album Ali on Broadway (1994), received good press from the specialist magazines[citation needed], but only touched the French public in small measure. In his second album Little Secrets (1998), the flavour and colour of the Orient make their appearance here and there, in amongst the jazz motifs.


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Romain
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Re: France - One song per day.

Postby Romain » Fri Apr 12, 2019 7:42 pm

Next song.

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Re: France - One song per day.

Postby Romain » Fri Apr 12, 2019 7:57 pm

Gilbert Bécaud - Et maintenant - 1962
Chanson

Artist Biography by Steve Huey
Known as "Monsieur 100,000 Volts" for his dynamic stage presence, Gilbert Bécaud was one of France's most popular singers during the 1950s and '60s, and enjoyed a career of more than four decades in show business. Bécaud is best known for his 1961 smash "Et Maintenant," which became a pop standard in the English-speaking world after it was translated as "What Now My Love." He was also an occasional film actor, a highly successful songwriter with over 150 credits, and an ambitious composer who completed a Christmas cantata, an opera, and a Broadway stage musical. But his primary impact came as a singer. In an era when cabaret vocalists remained largely stationary on-stage, Bécaud's energetic showmanship drove his audiences into a frenzy, as they strove to match his boundless enthusiasm. He became a regular presence at Paris' legendary Olympia concert theater, where he performed over 30 times -- more than any other artist. A notoriously heavy smoker, Bécaud succumbed to lung cancer in 2001, but kept performing almost right up to the end.

Bécaud was born François Gilbert Léopold Silly on October 24, 1927, in the Mediterranean port city of Toulon, France. He developed quickly as a pianist, and by age nine, he was already studying at the Conservatoire de Nice. His education was interrupted by World War II, and he left school in 1942 to join his family in Albertville and work for the French Resistance movement. After the war, the family settled in Paris, and the 20-year-old François began playing piano in cabarets and nightclubs. Around the same time, he also started composing music for films under the name François Bécaud, and also met songwriter Maurice Vidalin, who sparked his interest in writing pop songs in the traditional chanson style. In 1948, Bécaud started penning material for singer Marie Bizet; through her, he met songwriter Pierre Delanoé, who would join Bécaud and Vidalin to forge a highly successful creative partnership.

In 1950, Bécaud took a job as touring pianist for singer Jacques Pills, another connection made through Bizet. While on tour in America, the two met legendary singer Edith Piaf, and wrote her a hit song, "Je T'Ai Dans la Peau." Pills and Piaf married, and Bécaud served as Piaf's accompanist and manager for a short time. In 1952, he changed his stage name to Gilbert Bécaud, made his performing debut as a singer, got married, and made important songwriting connections with Louis Amade and the young Charles Aznavour. Thanks in part to Piaf's advocacy, Bécaud got the chance to record as a singer, and cut his first two singles -- "Mes Mains" and "Les Croix" -- in 1953; the songs were written by Delanoé and Amade, respectively, and helped establish Bécaud as an up-and-coming talent. In early 1954, Bécaud made his first appearance at the Olympia concert hall, serving as a supporting act on the night of its reopening. He returned as a headliner in February 1955 and delivered an exciting, star-making performance at which the teenage crowd went wild and started ripping the seats out of the theater. The stir captured the imagination of the French press, who nicknamed Bécaud "Monsieur 100,000 Volts"; all the publicity effectively catapulted him into the front rank of French singers.

Bécaud scored numerous hits over the remainder of the '50s, including "La Corrida" (1956), "Les Marchés de Provence" (1957), "Le Jour où la Pluie Viendra" (1957; written with Delanoé), and "C'est Merveilleux l'Amour" (1958), among others. Additionally, "Le Jour où la Pluie Viendra" was adapted into "The Day the Rains Came," and recorded for a chart-topping U.K. hit by Jane Morgan in 1958. It was the first of several Bécaud numbers that would find wider success via English translations, and he consolidated his growing reputation with extensive international touring. Bécaud also dabbled in film acting during this period, making his first appearance in 1956's Le Pays d'où Je Viens and continuing in 1957's Casino de Paris and 1959's Croquemitoufle. In 1960, Bécaud won the prestigious Grand Prix du Disque award, and composed an extended holiday work, a cantata titled "L'enfant à l'Étoile," which was broadcast on live television from a Paris church on Christmas Eve. He also scored another huge hit with "Je T'Appartiens," which became a U.S. Top Ten hit for the Everly Brothers as "Let It Be Me"; the song was later recorded by soul singers James Brown and Jerry Butler, country star Willie Nelson, Elvis Presley, Bob Dylan, Nina Simone, and many more.

Bécaud scored the biggest hit of his career in 1961 with "Et Maintenant," a song he co-wrote with Pierre Delanoé that wound up ranking among French pop's all-time classics. Translated into English as "What Now My Love," it became a standard in America and Britain as well, recorded by Shirley Bassey, Sonny & Cher (a U.S. Top 20 hit in 1966), Frank Sinatra, Elvis Presley, Andy Williams, and countless others. In 1962, Bécaud completed work on a full-fledged opera, L'Opéra d'Aran, which premiered in Paris that October with Georges Prêtre conducting; he spent a good part of 1964 touring Europe with it. Meanwhile, the pop hits kept coming: "Un Dimanche à Orly" (1963), the enormous hit "Nathalie" (1964; probably his second best-known song), "Quand Il Est Mort le Poète" (1965), the controversial pro-de Gaulle anthem "Tu le Regretteras" (1965), and "L'Important C'est le Rose" (1967). Also, "Seul Sur Son Étoile" was adapted into the English-language hit "It Must Be Him," which Vikki Carr took into the U.S. Top Five in 1967. Bécaud continued his extensive international touring, and appeared frequently on French television during the late '60s.

Bécaud focused far more on touring than recording during the '70s, but continued to hit the charts periodically, and maintained a healthy share of his popularity despite changing musical tastes in France. He had another major hit with 1970's "La Solitude, Ça N'Existe Pas," and briefly returned to acting over 1972-1973, with appearances in Roberto Muller's Un Homme Libre and Claude Lelouch's Toute Une Vie. He was forced to take some time off in late 1973 due to exhaustion, and by this point in his career, his chronic smoking was beginning to exact a toll on his voice. Nonetheless, he managed to keep up a hectic touring schedule, and returned to action in early 1974 to be named Chevalier in the Legion d'Honneur; the honor was presented by his old songwriting partner Louis Amade, who was also a prominent civil servant. In 1975, Bécaud scored his only U.K. hit with the Top Ten "A Little Love and Understanding," the English-language version of "Un Peu d'Amour et d'Amitie." He began writing with Pierre Grosz in 1976, including the hit "Mais où Sont-Ils les Jours Heureux?," and had another success with 1977's "L'Indifférence," written with longtime collaborator Maurice Vidalin.

After a break in the late '70s, Bécaud co-wrote Neil Diamond's adult contemporary smashes "September Morn" (1980) and "Love on the Rocks" (1981), and revitalized his own recording career with the 1982 hit "Desirée." In 1986, his stage musical Madame Roza -- written with lyricist/librettist Julian More -- opened in America to much greater success than it had enjoyed in France, and moved on to Broadway the following year. Bécaud switched from EMI to BMG in 1988, and issued his first album for the label, Fais-Moi Signe, later that year. Following his mother's death in 1991, he embarked on a whirlwind tour of the world, after which he contemplated retirement. First, though, he released the autobiographical album Un Vie Comme un Roman (A Life Like a Novel) in early 1993. He spent the next few years relaxing and nursing his health at his various homes, including a houseboat he kept on the Seine River in Paris. He continued to write, however, and returned in late 1996 with the album Ensemble. The following year, he celebrated his 70th birthday with yet another series of concerts at the Olympia, and in 1999 released the low-key acoustic album Faut Faire Avec.... By the end of that year, Bécaud knew he was suffering from lung cancer, and put on another series of shows at the Olympia that proved to be his farewell to the venue. He gave his final live performance in Switzerland in July 2000, and subsequently entered the studio to record his final album, Le Cap. He passed away in his Seine River houseboat on December 18, 2001.



https://www.youtube.com/watch?v=TW6QiI7hHGA

Sonny and Cher cover;
https://www.youtube.com/watch?v=4TT8T_-AIvQ
Elvis cover:
https://www.youtube.com/watch?v=UpjKlOM7KQ4
The Supremes cover:
https://www.youtube.com/watch?v=cPkyy67RwKY
Shirley Bassey cover:
https://www.youtube.com/watch?v=mbadoeScOLs

Etc etc... more than 150 covers.

Et maintenant que vais-je faire
De tout ce temps que sera ma vie
De tous ces gens qui m’indiffèrent
Maintenant que tu es partie

Toutes ces nuits, pourquoi pour qui
Et ce matin qui revient pour rien
Ce cœur qui bat, pour qui, pourquoi
Qui bat trop fort, trop fort

Et maintenant que vais-je faire
Vers quel néant glissera ma vie
Tu m’as laissé la terre entière
Mais la terre sans toi c’est petit

Vous, mes amis, soyez gentils
Vous savez bien que l’on n’y peut rien
Même Paris crève d’ennui
Toutes ses rues me tuent

Et maintenant que vais-je faire
Je vais en rire pour ne plus pleurer
Je vais brûler des nuits entières
Au matin je te haïrai

Et puis un soir dans mon miroir
Je verrai bien la fin du chemin
Pas une fleur et pas de pleurs
Au moment de l’adieu

Je n’ai vraiment plus rien à faire
Je n’ai vraiment plus rien …

And now what am i going to do
with the rest of my life
with all the people that didn't care.
Now, that you are gone.

All the nights..for what, for who
and this morning returns for nothing
This heart who beats, for who, for what
Who beats too strong, too strong

And now, what am i going to do
around this nothing will slip my life.
You left me the entire world
But the world without you is small

You my friends, are nice
You know well that nothing can be done.
Even Paris, dying of boredom
all its streets are killing me.

An now, what am i going to do
I will laugh, cry no more.
I'm going to burn all these nights
In the morning, I will hate you.

And then one evening in my mirror
I will see the end of the road,
not flowers and not tears.
the moment to say farewell.

I really have nothing to do
I really have nothing

Thanks to endres on LyricsTranslate.

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Romain
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Re: France - One song per day.

Postby Romain » Tue Apr 16, 2019 6:49 am

Next song.

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Re: France - One song per day.

Postby Romain » Tue Apr 16, 2019 6:57 am

Richard Cocciante/Patrick Fiori, Daniel Lavoie and Garou - Belle - Notre-Dame de Paris - 1998
Comédie musicale, Musical

Notre-Dame de Paris is a sung-through French musical which debuted on 16 September 1998 in Paris. It is based upon the novel Notre-Dame de Paris (The Hunchback of Notre-Dame) by the French novelist Victor Hugo. The music was composed by Riccardo Cocciante (also known as Richard Cocciante) and the lyrics are by Luc Plamondon.

Since its debut, it has been professionally played in Belgium, Canada, China, France, Italy, Japan, Lebanon, Luxembourg, Poland, Russia, Singapore, South Korea, Spain, Switzerland, Taiwan, Turkey, United Kingdom and United States, and has been translated into eight languages (English, Spanish, Italian, Russian, Korean, Flemish, Polish, and Kazakh). A shorter version in English was performed in 2000 in Las Vegas and a full-length London production, also in English, ran for seventeen months. Several songs from the show, such as "Vivre", "Belle" and "Le temps des cathédrales", have been released as singles with a huge success in French speaking countries.

Notre-Dame de Paris, according to the Guinness Book of Records, had the most successful first year of any musical ever. The score has been recorded at least seven times to date (2007): the original French concept album, which featured Israeli singer Achinoam Nini (aka Noa) as Esmeralda was followed by a live, complete recording of the original Paris cast. A complete recording of the score in Italian was made, along with a single disc of highlights in Spanish from the Barcelona production. The original London cast album featured several of the original Paris stars, but only preserved a fraction of the score in English.

Chanson:
"Belle" is a 1997 song performed by the Francophone singers Patrick Fiori, Daniel Lavoie and Garou, from the musical Notre Dame de Paris. Released as a single in 1998, it was a hit in France and Belgium, topping the charts for many months. To date, the song is one of the best-selling singles of all time in these countries.

As for the songs from the musical, the text was written by Luc Plamondon, who had also written the musical Starmania in 1978, and the music composed by Richard Cocciante. The musical arrangements were made by Richard Cocciante, Jannick Top and Serge Perathoner who also worked on the musical direction.

"Belle" is a romantic song in which the three singers, who respectively portrayed Quasimodo (Garou), Frollo (Daniel Lavoie) and Phoebus (Patrick Fiori), reveal in turn their love for the gypsy Esmeralda, before singing together the last verse.

The theme of the song is based in Victor Hugo's novel Notre Dame de Paris. In chapter VI of the Eighth book "Trois coeurs d'homme faits différemment" (Three men's hearts made differently), Phoebus, Frollo et Quasimodo watch Esmeralda who is sentenced to death. Phoebus is with his fiancée and though he pales when seeing Esmerelda proving he has feelings for her, he stays with his Fleur-de-Lys. Frollo is trying once again to propose Esmeralda a salvation, but in return he wants her to become his woman. And finally Quasimodo selflessly saves Esmeralda from death, only because of his enormous love for her.


The song was charted on the French Singles Chart for 60 weeks, which is to date the second single with most total weeks in the Top 100 (the number one is "U-Turn (Lili)", by AaRON, with 61 weeks), and the first one in the top 50, with 49 weeks. It entered the chart at #96 on 9 May 1998, and climbed slowly, reaching number one in its 18th week, which is one of the slowest climbs to first place. It was also the first trio to reach #1 on this chart. It had huge weekly sales when the musical was performed, from 12 September 1998. It stayed at the top for 18 consecutive weeks, which was at the time the record of the most weeks at #1 (this record was beaten in 2000 by Lou Bega's "Mambo no. 5 (a Little Bit of...)", with 20 weeks). After that, the song managed to drop slowly, totaling 31 weeks in the top ten.
Certified Diamond disc by the SNEP, it was the best-selling single of 1998, of the 1990s, and the third one of all time in France (behind Tino Rossi's "Petit Papa Noël" and JJ Lionel's "La Danse des Canards"), with about 2,221,000 copies sold.

In Belgium (Wallonia), the single debuted at #24 on the Ultratop 40 Singles Chart, on 6 June 1998. It topped the chart for only six weeks, from 19 September to 24 October, but remained in the top ten for 30 consecutive weeks. It fell off the chart (Top 40) after 44 weeks. It is the best-selling single of the year[8] and the most successful song from 1995 in that country.

In 1999, the song was awarded 'Song of the year' at the Victoires de la Musique.



[Quasimodo:]
Belle
C'est un mot qu'on dirait inventé pour elle
Quand elle danse et qu'elle met son corps à jour, tel
Un oiseau qui étend ses ailes pour s'envoler
Alors je sens l'enfer s'ouvrir sous mes pieds

J'ai posé mes yeux sous sa robe de gitane
À quoi me sert encore de prier Notre-Dame
Quel est celui qui lui jettera la première pierre
Celui-là ne mérite pas d'être sur terre

Ô Lucifer !
Oh ! Laisse-moi rien qu'une fois
Glisser mes doigts dans les cheveux d'Esmeralda

[Frollo:]
Belle
Est-ce le diable qui s'est incarné en elle
Pour détourner mes yeux du Dieu éternel
Qui a mis dans mon être ce désir charnel
Pour m'empêcher de regarder vers le Ciel

Elle porte en elle le péché originel
La désirer fait-il de moi un criminel
Celle qu'on prenait pour une fille de joie, une fille de rien
Semble soudain porter la croix du genre humain

Ô Notre Dame !
Oh ! Laisse-moi rien qu'une fois
Pousser la porte du jardin d'Esmeralda

[Phoebus:]
Belle
Malgré ses grands yeux noires qui vous ensorcellent
La demoiselle serait-elle encore pucelle ?
Quand ses mouvements me font voir monts et merveilles
Sous son jupon aux couleurs de l'arc-en-ciel

Me dulcinée, laissez-moi vous être infidèle
Avant de vous avoir menée jusqu'à l'autel
Quel est l'homme qui détournerait son regard d'elle
Sous peine d'être changé en statue de sel

Ô Fleur-de-Lys,
Je ne suis pas un homme de foi
J'irai cueillir la fleur d'amour d'Esmeralda

[Les trois:]
J'ai posé mes yeux sous sa robe de gitane
À quoi me sert encore de prier Notre-Dame
Quel est celui qui lui jettera la première pierre
Celui-là ne mérite pas d'être sur terre

Ô Lucifer !
Oh ! Laisse-moi rien qu'une fois
Glisser mes doigts dans les cheveux d'Esmeralda
Esmeralda

Beautiful
This is a word that seems to have been invented for her,
When she dances and when she exposes her body to the day, just like
A bird which outspreads its wings to get off the ground.
This is when I feel the hell, opening up under my feet
I've looked under her Gypsy dress.
What else is there to ask Virgin Mary for?
Who
Is the one who'll throw the first stone at her?
They do not deserve to stay on Earth.
Oh, Lucifer!
Let me, just once,
Run my fingers through the hair of Esmeralda.

Beautiful
Is it the devil who has incarnated into her
To tear my eyes from the eternal God?
Who has put into my being this carnal desire
To prevent me from looking to the Heaven?
She carries the original sin in herself
Is desiring her a crime for me?
The one who they considered a whore, a nothing girl
Suddenly seems to carry the cross of the humanity
O, Notre-Dame!
Let me, just once,
Open the door to the garden of Esmeralda.

Beautiful
Despite her big black eyes which bewitch you
Would the lady still be a virgin?
When her movements show me mountains and miracles
Under her underskirt of the colours of the rainbow
My Dulcinea, let me be unfaithful to you
Before I lead you down the aisle
What
A man would tear his regard from her
Under penalty of being turned into a pillar of salt
O, Fleur-de-Lys,
I'm not a man of my word
I'm going to pluck the flower of Esmeralda's love

I've looked under her Gypsy dress
What else is there to ask Virgin Mary for?
Who
Is the one who'll throw a stone at her?
They don't deserve to stay on Earth.
Oh, Lucifer!
Let me, just once,
Run my fingers through the hair of Esmeralda.

Thanks to Sever on LyricsTranslate.

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Honorio
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Re: France - One song per day.

Postby Honorio » Wed Apr 17, 2019 5:28 am

I'm so sorry about the Notre-Dame Cathedral fire, my solidarity with all the French AMers. Thankfully (and thanks to the firefighters) it seems the Cathedral could be restored...

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Romain
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Re: France - One song per day.

Postby Romain » Wed Apr 17, 2019 6:03 am

Honorio wrote:I'm so sorry about the Notre-Dame Cathedral fire, my solidarity with all the French AMers. Thankfully (and thanks to the firefighters) it seems the Cathedral could be restored...


Thanks Honorio.

They have done an incredibel job indeed. The "Pompiers de Paris" are, unlike other French firefighters, military; Very well known, we have many reports in France every year on their dedication and exceptional work. I can only thank them from the bottom of my heart. And thanks to the technology too, which made it possible to send terrestrial robotic drone to the heart of the cathedral, where molten lead flowed. A few years earlier, fire would probably have destroyed everything. The prefect of Paris, the firemen estimate that the cathedral was saved to within a quarter of an hour.

Fortunately, I would say, it was Notre-Dame de Paris that burned. It is not the most beautiful of our cathedrals, far from it, but it is the most famous because of its exceptional location, Victor Hugo's novel and its history. It has, and will, receive donations from all over the world for the reconstruction of the framework, which would probably not have been the case for other more impressive but less popular cathedrals.

And as far as we are concerned here, Notre-Dame de Paris has also been a high place for musical creation, major contributions to musical composition have been created in this cathedral, especially for polyphony.

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Re: France - One song per day.

Postby Romain » Wed Apr 17, 2019 11:15 am

Léonin - Viderunt Omnes - 1160 - Classical

Codex Calixtinus,

Wikipédia:
Léonin (also Leoninus, Leonius, Leo) (fl. 1150s — d. ? 1210) was the first known significant composer of polyphonic organum. He was probably French, probably lived and worked in Paris at the Notre Dame Cathedral and was the earliest member of the Notre Dame school of polyphony and the ars antiqua style who is known by name. The name Léonin is derived from "Leoninus," which is the Latin diminutive of the name Leo; therefore it is likely that Léonin's given French name was Léo.

All that is known about him comes from the writings of a later student at the cathedral known as Anonymous IV, an Englishman who left a treatise on theory and who mentions Léonin as the composer of the Magnus Liber, the "great book" of organum. Much of the Magnus Liber is devoted to clausulae—melismatic portions of Gregorian chant which were extracted into separate pieces where the original note values of the chant were greatly slowed down and a fast-moving upper part is superimposed. Léonin might have been the first composer to use the rhythmic modes, and may have invented a notation for them. According to W.G. Waite, writing in 1954: "It was Léonin's incomparable achievement to introduce a rational system of rhythm into polyphonic music for the first time, and, equally important, to create a method of notation expressive of this rhythm."

The Magnus Liber was intended for liturgical use. According to Anonymous IV, "Magister Leoninus (Léonin) was the finest composer of organum; he wrote the great book (Magnus Liber) for the gradual and antiphoner for the sacred service." All of the Magnus Liber is for two voices, although little is known about actual performance practice: the two voices were not necessarily soloists.

According to Anonymous IV, Léonin's work was improved and expanded by the later composer Pérotin. See also Medieval music.

The musicologist Craig M. Wright believes that Léonin may have been the same person as a contemporaneous Parisian poet, Leonius, after whom Leonine verse may have been named. This could make Léonin's use of meter even more significant.

Notre-Dame School:
The Notre Dame school or the Notre Dame school of polyphony refers to the group of composers working at or near the Notre Dame Cathedral in Paris from about 1160 to 1250, along with the music they produced.

The only composers whose names have come down to us from this time are Léonin and Pérotin. Both were mentioned by an anonymous English student, known as Anonymous IV, who was either working or studying at Notre Dame later in the 13th century. In addition to naming the two composers as "the best composers of organum," and specifying that they compiled the big book of organum known as the Magnus Liber Organi, he provides a few tantalizing bits of information on the music and the principles involved in its composition. Pérotin is the first composer of organum quadruplum—four-voice polyphony—at least the first composer whose music has survived, since complete survivals of notated music from this time are scarce.

Léonin, Pérotin and the other anonymous composers whose music has survived are representatives of the era of European music history known as the ars antiqua. The motet was first developed during this period out of the clausula, which is one of the most frequently encountered types of composition in the Magnus Liber Organi.

While music with notation has survived, in substantial quantity, the interpretation of this music, especially with regard to rhythm, remains controversial. Three music theorists describe the contemporary practice: Johannes de Garlandia, Franco of Cologne, and Anonymous IV. However, they were all writing more than two generations after the music was written, and may have been imposing their current practice, which was quickly evolving, on music which was conceived differently. In much music of the Notre Dame School the lowest voices sing long note values while the upper voice or voices sing highly ornamented lines, which often use repeating patterns of long and short notes known as the "rhythmic modes." This marked the beginning of notation capable of showing relative durations of notes within and between parts (Hoppin 1978, p. 221).

Polyphony:
In music, polyphony is one type of musical texture, where a texture is, generally speaking, the way that melodic, rhythmic, and harmonic aspects of a musical composition are combined to shape the overall sound and quality of the work. In particular, polyphony consists of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, which is called homophony.

Within the context of the Western musical tradition, the term polyphony is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the species terminology of counterpoint,[clarification needed] polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to "successive composition", where voices were written in an order with each new voice fitting into the whole so far constructed, which was previously assumed.

The term polyphony is also sometimes used more broadly, to describe any musical texture that is not monophonic. Such a perspective considers homophony as a sub-type of polyphony.

European polyphony rose out of melismatic organum, the earliest harmonization of the chant. Twelfth-century composers, such as Albert, Léonin and Pérotin developed the organum that was introduced centuries earlier, and also added a third and fourth voice to the now homophonic chant. In the thirteenth century, the chant-based tenor was becoming altered, fragmented, and hidden beneath secular tunes, obscuring the sacred texts as composers continued to play with this new invention called polyphony. The lyrics of love poems might be sung above sacred texts in the form of a trope, or the sacred text might be placed within a familiar secular melody.

These musical innovations appeared in a greater context of societal change. After the first millennium, European monks decided to start translating the works of Greek philosophers into the vernacular. Western Europeans were aware of Plato, Socrates, and Hippocrates during the Middle Ages. However they had largely lost touch with the content of their surviving works because the use of Greek as a living language was restricted to the lands of the Eastern Roman Empire (Byzantium). Once these ancient works started being translated thus becoming accessible, the philosophies had a great impact on the mind of Western Europe.

Organum:
Organum (/ˈɔːrɡənəm/) is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line (or bourdon) may be sung on the same text, the melody may be followed in parallel motion (parallel organum), or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony. In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth.
In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. Organum was originally improvised; while one singer performed a notated melody (the vox principalis), another singer—singing "by ear"—provided the unnotated second melody (the vox organalis).
Over time, composers began to write added parts that were not just simple transpositions, thus creating true polyphony.This sparked a number of innovations in medicine, science, art, and music.




Léonin's two-part version of Viderunt Omnes was written about 1160. In his variation, the bottom voice sings the familiar chant as a drone while the top voice echoes in rich polyphony—a symbol of religious unity; a form of communal togetherness. As a theorist, Léonin developed complex sets of rhythmic modes and patterns that could only be written with a certain styling of ligatures. Due in large part to the development of mensural notation, his vision became common practice, allowing for discant and clausula.

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Re: France - One song per day.

Postby Romain » Thu Apr 18, 2019 3:42 pm

Next song.

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Re: France - One song per day.

Postby Romain » Thu Apr 18, 2019 3:50 pm

Jessica93 - Anti cafard 2000 - 2017
Post-Punk, Alternative Rock, Noise Rock, Coldwave, Industrial Rock

Album: Guilty Species (RYM: 3.29/5)

Wikipédia (DeepL translate)
After a decade of precarious employment and officiating in various groups on the French independent scene, Geoffroy Laporte, then aged 30, founded the Jessica 93 project in 2010, where he played all the instruments. His musical influences are grunge and shoegaze.

The first records are co-produced by the label "Et mon cul c'est du tofu?" and distributed as free and free downloads.

Following the release of Rise in 2014 and its programming at the Rock en Seine festival the same year, Jessica93 achieved greater notoriety. Now joined by musicians, Jessica93 tours in France, Belgium, the Netherlands, Italy, Germany, Denmark and even gives some dates in Russia. In 2015, Rise was distributed in the United States by the independent label Not Just Religious Music, based in Seattle.

The fourth album entitled Guilty Species, entirely recorded in analog, was released on November 3, 2017, once again Geoffroy Laporte played all the instruments. However, unlike previous albums, the songs were composed to be played as a group during the concerts.



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Re: France - One song per day.

Postby Romain » Wed Apr 24, 2019 7:14 am

Next song.

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Re: France - One song per day.

Postby Romain » Wed Apr 24, 2019 7:25 am

Alain Souchon - Quand je serai K.O. - 1988
Chanson

Album: Ultra Moderne Solitude ( RYM: 3.60/5)

Artist Biography by John D. Buchanan (Allmusic)

Widely considered the godfather of contemporary French pop, singer/songwriter Alain Souchon captured the precarious masculinity of postmodern man with uncommon tenderness and whimsy. Often working in partnership with composer Laurent Voulzy, his music explored themes both personal and political with poetic grace, firmly establishing its creator as the spiritual heir to the traditions of Jacques Brel and Georges Brassens. Born Alain Kienast on May 27, 1944, in Casablanca, Morocco, he was raised in Paris from the age of six months onward. A shy, deeply introspective child, he retreated further into his shell in 1959, when the family suffered an automobile accident that left his father dead. While their mother published pulp romance novels to keep the family afloat, Alain and his siblings moved in with their grandmother, whose habitual radio listening introduced him to the great artists of France's chanson past. In 1961, he was sent to London to study at the Lycée Français but fared poorly, writing poetry and prose while ignoring his academic workload. Souchon nevertheless remained in London, working as a bartender before returning to Paris, where he began learning guitar and writing songs influenced by Britain's new generation of rock & roll bands. After years playing small clubs on Paris' Left Bank, Souchon finally landed a record deal in 1971, issuing his debut single, "Je Suis un Voyageur," on the Pathé Marconi label. Two additional releases followed, both of them meeting the same grim commercial fate that befell their predecessor, and the contract was swiftly terminated.

Souchon's songs nevertheless captured the attention of RCA A&R director Bob Socquet, who in 1973 encouraged him to submit "L'Amour 1830," a song he'd written for Italian singer Frédéric François, to Antibes' annual Rose d'Or competition. Souchon performed the composition himself and won the critic's prize and a special press prize. Even more significantly, by year's end he began working with composer Laurent Voulzy, like Souchon a frustrated singer/songwriter whose gifts as a composer perfectly complemented his new partner's skills as a lyricist. In 1974 Souchon and Voulzy issued their debut LP, J'ai 10 Ans, scoring their breakthrough hit with the title cut. A year later, Bidon cemented their new star status, earning widespread critical acclaim as well. While 1977's Jamais Content launched Souchon's signature song, "Allô Maman Bobo," the duo also scored with the Voulzy solo single "Rockcollection," and in the years to follow their solo careers both flourished, each collaborator balancing the strengths and weaknesses of the other. Souchon's 1978 effort Toto 30 Ans proved his darkest, most disillusioned collection to date, but the singles "Le Bagad de Lann Bihoue" and "Papa Mambo" were nevertheless massive chart hits. The album also contained "L'Amour en Fuite," commissioned by filmmaker François Truffaut as the title theme for his feature of the same name. Following 1980's Rame, Souchon made his debut in front of the camera, co-starring in the Claude Berri film Je Vous Aime and playing the same kind of fragile, haunted character he first introduced with his music.

Souchon continued his infatuation with cinema throughout the early '80s, co-starring opposite Yves Montand and Catherine Deneuve in the 1981 Jean-Paul Rappeneau hit Tout Feu Tout Flame and earning critical raves for his work alongside Isabelle Adjani in 1983's L'Eté Meurtrier. Only in the autumn of 1983 did Souchon release a new LP, On Avance, an album with but one collaboration with Voulzy, "Saute en l'Air." They nevertheless resumed their collaboration in full soon after, retreating to Brittany and Saint-Tropez to co-write Souchon's 1985 follow-up, C'est Comme Vous Voulez, which scored the hit "La Ballade de Jim." After a double-bill tour with Véronique Sanson, he returned to film with 1987's Jacques Doillon-directed Comédie, co-starring Jane Birkin. In the summer of 1989, Souchon headlined a month-long stint at Paris' prestigious Théâtre des Champs-Elysées in support of his newest LP, Ultra Moderne Solitude. "Quand Je Serai KO," written in tandem with Voulzy, later earned Victoires de la Musique honors as song of the year. Souchon next resurfaced in 1993 with the critical and commercial smash C'est Déjà Ça, an album highlighted by its lead single, "Foule Sentimentale," which quickly emerged as something of a contemporary French standard. The following February, he earned Victoires de la Musique awards in the categories of Best Song of the Year and Best Male Artist, and that fall headlined three sold-out performances at the Zenith, the subject of the live release Défoule Sentimentale.

Souchon and Voulzy next teamed with their respective sons Pierre and Julien (who previously collaborated in the pop group Les Cherche Midi) to contribute material to a 1994 benefit album assembled for the children's AIDS charity Solidarité Enfants Sida. Souchon also toured in honor of the charity, additionally performing at two benefit gigs for the organization Restaurants de Coeur. His next official album, Aux Ras des Pâquerettes, appeared in 1999, and a year later he launched a 140-date tour that extended into 2001, quickly followed by a brief acoustic trek. Souchon turned 60 in 2004, and his pace seemed to slow in the months and years to follow. In February 2005, upon the 20th anniversary of the Victoires de la Musique awards, he received a special Victoire honor celebrating the continued popularity and influence of "Foule Sentimentale," and that autumn released La Vie Theodore, a concept album inspired in part by French geographer Théodore Monod.

Souchon's next album Ecoutez d’où Ma Peine Vient, released in 2008, was notable not only for the relative swiftness with which it arrived, but also for the near-total absence of Laurent Voulzy, who was busy working on his own 30th anniversary celebrations. Souchon ended up writing most of the music on the record by himself, aided on a couple of songs by his son Pierre. After a large-scale tour which was recorded for the live album Alain Souchon Est Chanteur, he went back into the studio -- once again without Voulzy, who was making a solo album -- to record an album of cover versions from his youth, A Cause d'Elles, which was released in 2011.



Refrain:
When, petite soeur,
We'll just have to remember.
I'll be down,
No more, the old dancing music sound.
All day long in my gown,
When I will be down.

Refrain x2

Quand je serai K.O.,
Descendu des plateaux de phono,
Poussé en bas
Par des plus beaux, des plus forts que moi,
Est-ce que tu m'aimeras encore
Dans cette petite mort ?
Attention : plus personne
Porteurs de glace de chewing gum,
Plus de belle allure,
Chevaux glissant sur la Côte d'Azur.
Quand je serai pomme,
Dans les souvenirs, les albums,
Est-ce que tu laisseras
Ta main, sur ma joue, posée comme ça ?
Est-ce que tu m'aimeras encore
Dans cette petite mort ?

Refrain

Plus d'atoll
Pour une déprime qu'a du bol,
Plus les folles
Griffonnant "Je t'aime" sur des bristols.
Quand je serai rien
Qu'un chanteur de salle de bains,
Sans clap clap
Sans guitare, sans les batteries qui tapent,
Est-ce que tu m'aimeras encore
Dans cette petite mort ?

Refrain x3

When, little sister,
We'll just have to remember.
I'll be down,
No more, the old dancing music sound.
All day long in my gown,
When I will be down.

Refrain x2

When I'm knocked out
Taken down from vinyl players
Pushed behind
By those more beautiful, those stronger than me,
Will you still love me
In this little death?
Careful: nobody left
Bearers of chewing gum ice-cream,
No more beautiful allure,
Horses gliding on the Cote d'Azur.
When I'll be done,
In memories, albums.
Will you leave
Your hand, on my cheek, just like that?
Will you still love me
In this little death?

Refrain

No more atoll
For a depression that is lucky,
No more crazies,
Scratching "I love you" on name cards.
When I'll be nothing
Just a bathroom singer,
Without applause,
Without guitar, without drums that drum,
Will you still love me
In this little death?

Refrain x3

Thanks to isabel osul23 on LyricsTranslate.
Last edited by Romain on Wed May 15, 2019 3:49 pm, edited 1 time in total.

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Re: France - One song per day.

Postby Romain » Thu Apr 25, 2019 8:48 am

Next song.

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Re: France - One song per day.

Postby Romain » Thu Apr 25, 2019 8:59 am

Mama Béa Tekieelski - Ballade pour un bébé robot - 1978
Chanson à texte, Progressive Rock, Rock

Album: Pour un bébé robot (RYM: 3.22/5)

Wikipédia (DepL translate)
Béatrice Tékielski was born in August 1948 in Avignon.

Her youth was inspired by Jacques Brel, Barbara, Colette Magny, Janis Joplin and Léo Ferré, of whom she became an enthusiast, to the point of covering twelve of her songs in the album Du côté de chez Léo. She also covers De la main gauche by Danielle Messia.

She is the voice of Édith Piaf in Claude Lelouch's film Édith et Marcel.

Mama Béa, with her strong, deep, hoarse and fluid voice, and her rebellious and heartbreaking lyrics, left her mark on French rock in the late 1970s.




C'est la ballade
Que la maman robot
Chante pour qu'il s'endorme
À son bébé robot
Qui veut pas faire dodo {x4}
Leur amour incandescent
Enfantera l'être multicolore
D'argile et d'airain à la fois
Il sera une fois

Il sera une fois {x3}
Une fois, une fois

{x2:}
Ils ne s'appelleront ni Ève ni Adam
Ils n'auront pas de racines
Ils ne s'abîmeront pas dans la quête
D'une paternité suprême

Ne souffre pas
Tu vas souiller ton gilet de cuivre étamé
Ne rêve pas
Tu vas faire exploser tes circuits imprimés
Ne pleure pas
Tu vas rouiller tes cils de laiton nickelé

Nous sommes trop petits
Pas coupables, coupables
Nous sommes si petits
Pas coupables, coupables
Nous sommes le résultat d'une équation fausse
{x3:}
Il nous faudra consommer l'erreur
Jusqu'à l'éclatement final

Mais ne pleure pas
Ce n'est pas triste, puisque
Leur amour incandescent
Enfantera de l'être multicolore
D'argile et d'airain à la fois
Il sera une fois
Mais nous n'y serons plus
L'amour sera sans nous, sans nous
Sans nous, sans nous, sans nous…

C'est la ballade
Que la maman robot
Chante pour qu'il s'endorme
À son bébé robot
Qui veut pas faire dodo {x4}

It's the lullaby
That mama robot
sings her stubborn robot baby
to sleep (x4)
Their fiery love
Will give way to a multi-coloured being
Made of clay and bronze
One day

One day (x3)
One day, one day he will be

(x2)
Won't be called Eve nor Adam
Nor will they have roots
They will not perish striving for
The ultimate parenthood

No use in suffering
You will stain your tinned copper jacket
Don't dare dream
You will blow up your motherboard
No use in crying
You will curl your brass nickel eyelashes

We are too small
Not to blame, to blame
We are so small
Not to blame, not to blame
We are the product of a false equation (x3)
We must make this mistake
Until we explode

No use in crying
It's not sad, because
Their fiery love
Will give way to a multi-colored being
Made of clay and bronze
One day
But we will no longer be there
Love will be without us, without us
Without us, without us, without us...

It's the lullaby
That mama robot
Sings her stubborn baby robot
to sleep (x4)

Thanks to iT4LL on LyricsTranslate

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Re: France - One song per day.

Postby Romain » Sun Apr 28, 2019 10:04 am

Next song.

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Re: France - One song per day.

Postby Romain » Sun Apr 28, 2019 10:18 am

Polo & Pan - Coeur croisé - 2017
Tropical House, Electropop

Album: Caravelle ( RYM: 3,33/5)

Wikipédia (DeepL translate)
The group consists of a duo of electro DJs composed of "Polocorp" (Paul Armand-Delille) and "Peter Pan" (Alexandre Grynszpan), both of whom have had solo careers in Paris, notably at the Baron, where they met in 2012. They started mixing songs together before gradually getting into composition, and in 2012 published their first EP, Rivolta, quickly followed by a second one, Dorothy (Hamburger Records / Ekler'o'shock).

In 2016, their EP Canopée (and the eponymous single with voice of Armand Penicaut and Victoria Lafaurie) was a great success. It is still produced by Raphaël Hamburger (Hamburger Records) and Matthieu Gazier (Ekler'O'shock).

Among their influences, they include Maurice Ravel, Giorgio Moroder, Air, Vladimir Cosma, Jacques, Flavien Berger, the Empress, or Pilooski, LCD Soundsystem.

In 2017, they made their first collaboration with Jacques. The piece is entitled Jacquadi and the clip is directed by Vincent Castant. On May 19, the duo released their first album Caravelle, from which the single Cœur Croisé was released, accompanied by a video clip. The album is a good critical success, praised by Julien Baldacchino of France Inter, Les Inrocks and Modernists among others.

The summer of 2018 is meant to be prolific for the duo: the album Caravelle (Deluxe), a re-release of Caravelle, was released on July 12, 2018. The EP Mexicali is unveiled at the end of October. A world tour is taking place from September to December 2018.




Je me baladais, j’étais perdu
Quand je t'ai croisée belle inconnue
D'un simple regard j'ai deviné
Le parfum fragile d'un cœur brisé
Si seulement je t'avais dit : Salut.
Il me semble qu'on se serait plus
Mais Cupidon n'a pas décoché
Et j'ai continué à marcher

N'aie pas peur et rejoins moi sans détour
Je t'attends de puis longtemps toi l'amour
Un mot de toi et tu seras pour toujours
Mon roi, mon guide à moi, la lumière de mes jours

Un peu comme un air de déjà vu
De situation déjà vécue
La sensation d'un chassé-croisé
Sur une autoroute en plein été
Je regrette le temps révolu
D'un amour naissant sur l'avenue

Mais voilà notre idylle effacée
Comme nos idoles sur papier glacé

N'aie pas peur et rejoins moi sans détour
Je t'attends depuis longtemps toi l'amour
Un mot de toi et tu seras pour toujours
Mon roi, mon guide à moi, la lumière de mes jours

I was wandering, I was lost
When I met you, beautiful unknown
From a glance I guessed
The delicate perfume of a broken heart
If only I had said "Hi",
I think we would have appealed each other,
But Cupid didn't shoot
So I went on, walking.

Don't be afraid and come meet me
I've waiting for you for too long, you my love
A word from you and you'll be forever
My king, my only guide, the light of my days

Like a "deja-vu",
Like a something already lived,
The feeling of a criss-crossing
On the highway in the middle of summer
I regret this passed time
Of a beginning love on the boulevard.

But our idyll is already erased,
Like our idols on coated paper.

Don't be afraid and come meet me
I've waiting for you for too long, you my love
A word from you and you'll be forever
My king, the guide of mine, the light of my days.

Thanks to Floppylou on LyricsTranslate.

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Re: France - One song per day.

Postby Romain » Tue Apr 30, 2019 9:17 am

Next song.

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Re: France - One song per day.

Postby Romain » Tue Apr 30, 2019 9:34 am

Hubert-Félix Thiéfaine - La ruelle des morts - 2011
Chanson, Folk Rock, Singer/Songwriter, Art Rock

Album: Suppléments de mensonge (RYM: 3.62/5)

Artist Biography by Olivier Duboc (Allmusic)

French singer/songwriter Hubert-Félix Thiéfaine is an artist whose work one may find very difficult to file in any genre. Influenced by Bob Dylan and Lou Reed as well as Léo Ferré, Jacques Brel, and French writers, his music first took shape as a form of folk-rock, turning darker and more synthetic in the '80s and constantly evolving with time into a quite personal style of pop featuring poetic, daring, and sometimes difficult lyrics. Never submitting to musical fashion or ideology, Thiéfaine's work might be considered just as original as that of Jacques Higelin or Gérard Manset, expressing a conflicted and sometimes odd personality. Although Thiéfaine has opted out of the mass-media music business since the beginning of his career in 1978, he has managed to attract a large and faithful audience, selling more records and concert tickets than one might imagine given the level of his exposure, and gaining cult status along the way.

Hubert-Félix Thiéfaine was born in Dole, Jura, in 1948. Having had a quite unhappy childhood, he quickly encountered issues at school. Developing a great deal of imagination at that time and already with a rebellious streak, he started writing songs with a couple of friends at the early age of 12. He later managed to make it through university, where a friendly collaboration with the folk-influenced Tony Carbonare began.

In 1976, he was signed to record his first LP, Tout Corps Vivant Branché Sur le Secteur Étant Appelé à S'Émouvoir...; released in 1978 and selling few copies, the album nevertheless included his first semi-hit, "La Fille du Coupeur de Joint" (which was to become a cult classic). The Thiéfaine-Carbonare collaboration continued with the release of two further studio records, 1979's Autorisation de Délirer and 1980's De l'Amour, de l'Art et du Cochon. His 1981 record, Dernieres Balises: Avant Mutation, made with the help of longtime friend Claude Mairet, exposed Thiéfaine's darker side, while his live sets were increasingly warmly welcomed by his growing audience.

The Thiéfaine-Mairet collaboration continued with 1982's Soleil Cherche Futur, an album that gained Thiéfaine his second gold record after Dernieres Balises: Avant Mutation, along with some radio airplay. From 1984 to 1995, Thiéfaine alternated studio recordings (Alambic/Sortie-Sud, Météo Für Nada, Eros Über Alles, Chroniques Bluesymentales, Fragments d'Hébétude) with tours and numerous live albums (1986, 1988, 1995), then sticking to his newfound style, more devoted to synth pop and rock.

In 1996 and 1998, he released two new sets of material like two parts of a diptych, La Tentation du Bonheur and Le Bonheur de la Tentation. After 2001's Defloration 13, 2005's Scandale Mélancolique saw Thiéfaine collaborate with famous young artists like Cali and J.P. Nataf, stepping out somewhat uncharacteristically with his most visible comeback to date. In 2007, a Scandale Mélancolique tour DVD was released and released the compilation Sequels in 2009. After a four year hiatus he released his sixteenth studio album Supplement de Mensonges in 2011.




Avec nos bidons en fer blanc
on descendait chercher le lait
à la ferme au soleil couchant
dans l'odeur des soirs de juillet
on avait l'âge des confitures,
des billes et des îles au trésor
et on allait cueillir les mûres
en bas, dans la ruelle des morts

On nous disait que Barbe Rousse
avait ici sa garnison
et que dans ce coin de cambrousse
il avait vaincu des dragons
on avait l'âge de nos fêlures
et on était conquistadors
on déterrait casques et fémurs
en bas, dans la ruelle des morts
dans la ruelle des morts

On arrosait toutes nos victoires
à grands coups de verres de kéfir
ivres de joie et sans le savoir
on reprenait Mers el-Kebir
puis c'étaient nos chars en Dinky
contre les tigres et doryphores
qui libéraient la French County
en bas, dans la ruelle des morts

Que ne demeurent les printemps
à l'heure des sorties de l'école
quand les filles nous jouent leurs seize ans
pour une bouff de Royale Menthol
je ne sais plus si c'était Françoise, Martine, Claudine ou Marie-Laure
qui nous faisaient goûter leurs framboises
en bas, dans la ruelle des morts
dans la ruelle des morts
dans la ruelle des morts

Que ne demeurent les automnes
quand sonne l'heure de nos folies
j'ai comme un bourdon qui résonne
au clocher de ma nostalgie
les enfants cueillent des immortelles
des chrysanthèmes, des boutons d'or
les deuils se ramassent à la pelle
en bas, dans la ruelle des morts
dans la ruelle des morts
dans la ruelle des morts

We used to walk down to the farm at sunset
To pick up the milk
With our tinplate cans
In the smell of July's evenings
We were at the age of marmalades
Marbles and treasure islands
And we used to pick blackberries
Below in the alley of the dead

We were told that Barberousse1
Had his garrison here2
And that in this piece of country land
He had defeated dragons
We were the age of our cracks
And we were conquistadors
We used to dig up helmets and femurs
Below in the alley of the dead
In the alley of the dead

We celebrated each our victories
Swigging large glasses of kefir
Drunk with happiness and without knowing it
We started again Mers-el-Kébir
Then it was our Dinky tanks
Against the Tigers3 and the Krauts4
Freeing the French County
Below in the alley of the dead

Would that the springs remain
At the time of school gates
When girls play their 16 years old
To have a puff of Royale Menthol5
I don't remember whether she was Françoise
Martine, Claudine or Marie-Laure
Who made us taste their raspberries
Below in the alley of the dead
In the alley of the dead
In the alley of the dead

Would that the falls remain
When chimes the time of our craziness
I have kind of a tenor bell echoing6
At the steeple of my nostalgia
Children are picking helichrysums7
Chrysanthemums, buttercups
Bereavements comes by dozens
Below in the alley of the dead
In the alley of the dead
In the alley of the dead


1. Frederick I Barbarossa (Wikipedia)
2. H.F. Thiéfaine is born in the Jura, which was part of Barberousse's empire
3. German World War II heavy tanks
4. potato beetles, name given to German soldiers during WWII
5. Royale is a cigarette's brand famous for its menthol cigarettes
6. pun: j'ai le bourdon = I feel blue // un bourdon = a tenor bell
7. nicknamed "Immortelle" (= everlasting flower)
Thanks to Enoo on LyricsTranslate.

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Re: France - One song per day.

Postby Romain » Fri May 03, 2019 8:03 am

Next song.

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Re: France - One song per day.

Postby Romain » Fri May 03, 2019 8:11 am

Bernard Fèvre - Molecule Dance - 1975 - Electro
Musique électronique, Library Music

Album: The stange world of Bernard Fèvre (RYM: 3.53/5)

Last.fm (DeepL translate)
Bernard Fèvre, recorded the legendary album Disco Club in 1978 within the Black Devil...
Recorded in 5 nights, forgotten for 20 years and sampled by the Chemical Brothers on Surrender (Got Glint)...

In the 1960s, Bernard Fèvre was a member of the Francs Garçons, a vocal group whose ambition was to update the repertoire of traditional French songs.
Bernard also plays the orchestra behind songwriters like Sim, Jean Amadou or Jean-Marie Proslier, then composes a track for Alice Sapritch's only album...

In 1975 at the end of the Francs Garcons, Bernard was not yet 30 years old and embarked on musical illustration, titillated by the electronic sounds of artists like Vangelis and his Aphrodite's Child.
Noticed by a clever disco producer named Jacky Giordano, Bernard agreed to credit him as co-composer of six bizarre disco tracks from a studio night in the Paris suburbs that Jacky had paid for.
He left him the tapes and Giordano released the mini-album in a hurry in 1978, but the record went completely unnoticed, probably because of its too strong strangeness at the time of Boney M and Abba.

Bernard enters a tunnel of more than 20 years to survive from musical illustration (among other things jingles for Europe1), then in 1999, receives with astonishment a survey from the SACEM listing the sample of the Chemical Brothers, group
which he never heard of (the rights to the record had been assigned by Giordano).
Surfing the web at the turn of the millennium, Bernard realized that the original Black Devil Disco Club can be exchanged for up to $600 on Ebay. In 2004, the re-release of the mini album by Rephlex with remixes of Luke Vibert convinced him to reactivate the Black Devil after more than 25 years of absence.

Back in 2006 with a new EP from the Black Devil Disco Club entitled "28 After" (for 28 years later...) following the re-release of the 1st in the UK on the label created by Aphex Twin...
Artists such as Aphex Twin, Luke Vibert, but also Morgan Geist, I-F and James Holden, claim their admiration for his work, now labelled "cult" and "pioneer of electronic music".



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Re: France - One song per day.

Postby Romain » Mon May 06, 2019 11:09 am

Next song.

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Re: France - One song per day.

Postby Romain » Mon May 06, 2019 11:30 am

Michel Berger - Diego, libre dans sa tête - 1983
Chanson, Rock, Piano Rock

Album: Voyou (RYM: 3.34/5)

Wikipédia:
Michel Berger (born Michel Jean Hamburger; 28 November 1947 – 2 August 1992) was a French singer and songwriter. He was a figure of France's pop music scene for two decades as a singer and as a songwriter for such artists as Françoise Hardy, Johnny Hallyday, and his own wife, France Gall. He died of a heart attack at the age of 44.

Berger was born as Michel Jean Hamburger on 28 November 1947 in Neuilly-sur-Seine, the son of Jewish parents, Dr. Jean Hamburger and Annette Haas, a concert pianist of Swiss-Jewish origin.

Berger first became known to the French public in the 1960s as singer of hit song Salut les copains, after which he became record producer and songwriter for EMI and where he wrote amongst others Les Girafes for Bourvil in 1967. In the early 1970s, he moved to Warner Music where he produced the early albums of Véronique Sanson, and Allah once again in 1989. In 1973, he was responsible for producing the album Message personnel, the title track of which relaunched Françoise Hardy's career. He also produced the single Je suis moi for Hardy. Berger started writing for France Gall in 1974, produced all her albums from 1975 on, and married her on 22 June 1976.

In 1978, he composed the musical: Starmania, with lyrics by Luc Plamondon. The musical starred Gall, Claude Dubois, Daniel Balavoine, Diane Dufresne, Nanette Workman, Éric Estève and Fabienne Thibeault. It was a big success in France in the 1980s and 1990s. An English version, entitled Tycoon, was released in 1991 with lyrics by Tim Rice.

Unfortunately, the two musicals Berger worked on immediately after Starmania did not fare well. In 1980, Berger partnered with producer Jérôme Savary and lyricist Luc Plamondon to produce the musical La Légende de Jimmy, inspired by the life of James Dean. However, this bombed. Berger's next musical project, Dreams in Stone, was conceived as an American musical, co-arranged with Michel Bernholc, and recorded in the United States, with lead vocals by singers Rosanne Cash, Bill Champlin, Lynn Carey, Jennifer Warnes, and Bill Withers among others. Though the show itself never saw the light of day, the album was nevertheless released in 1982. The album was a complete flop, and is not generally known outside of a few fansites.

Berger also scored several film projects over the years, which included Mektoub, a 1970 film by Algerian Director Ali Ghalem, Robert Benayoun's Sérieux comme le plaisir in 1975, Jean-Paul Rappeneau's Tout feu, tout flamme in 1982 and Rive droite, rive gauche the 1984 film by Philippe Labro. He was known for his Orangina advertisement jingle.

Berger was one of a handful of French artists who participated readily and actively in humanitarian acts: in 1985, he worked exclusively for Action Écoles alongside Gall, Richard Berry and Daniel Balavoine, then later for Ethiopia with Renaud (Chanteurs Sans Frontières) and for Les Restos du cœur with comedian Coluche.

Chanson:
Diego libre dans sa tête is a song written and composed by Michel Berger. This song was first performed in 1981 by France Gall on her studio album Tout pour la musique. The song denounces the repression exercised by Latin American dictatorships.

This song takes on a special significance for France Gall during her appearance on the television show Champs-Élysées when she performed it for the first time in the presence of a former political prisoner, the Argentine pianist Miguel Ángel Estrella.

Michel Berger recorded it on his studio album Voyou in 1983; Johnny Hallyday covered the song in 1990 and Véronique Sanson in 1999.



Halliday cover:
https://www.youtube.com/watch?v=ZtlWIuLkPjw
Gall Cover:
https://www.youtube.com/watch?v=aTLJ8A4qYAI
Sanson cover:
https://www.youtube.com/watch?v=3tTUMzh3YrI

Derrière des barreaux
Pour quelques mots
Qu'il pensait si fort.
Dehors, dehors il fait chaud.
Des milliers d'oiseaux
S'envolent sans effort

Quel est ce pays
Où frappe la nuit
La loi du plus fort ?
Diego, libre dans sa tête
Derrière sa fenêtre
S'endort peut-être…

Et moi, qui danse ma vie
Qui chante et qui ris
Je pense à lui.

Diego, libre dans sa tête
Derrière sa fenêtre
Déjà mort, peut-être.

Behind bars
Because of a few words
He though so loudly
Outside, outside it's hot
Thousands of birds
Fly effortlessly

In what kind of country
Does might make right
As soon as the night comes ?
Diego, free in his mind
Behind his window
Could be falling asleep

While I'm dancing my life away,
Singing and laughing
Yet thinking about him

Diego, free in his mind,
Behind his window
Could be dead, already

Thanks to FloppyLou on LyricsTranslate.

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Re: France - One song per day.

Postby Romain » Wed May 08, 2019 2:18 pm

Next song.

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Re: France - One song per day.

Postby Romain » Wed May 08, 2019 2:35 pm

Murmuüre - Murmuüre - 2010
Atmospheric Black Metal, Ambient

Album: Murmuüre (RYM: 3.68/5)

Metal-Archives.com
This album, the one-man project of a Frenchman calling himself "One," came out last year in extremely limited releases on CD and tape. It received some rave reviews, but went relatively unnoticed. This may have something to do with the fact that critics totally misrepresented it, and consequently pushed it to the wrong audience.

Let's start with this gag-inducing excerpt from a review by the tastemakers at Aquarius Records: "One moment it sounds like blackened Cocteau Twins, the next like some post rock band covering Abruptum as covered by Alcest." They also refer to it as an "M83 style retro electronic haze." Oof.

What's going on here? The Aquarians (and their ilk) perceive the album as a "dizzying" array of cool influences grafted onto a black metal sound, with the end result being "some sort of twisted abstract avant black metal." Their understanding of the album, and maybe even their enjoyment of it, revolves around the seeming diversity of its style. It impresses them because it enables critical namedropping on an epic scale.

Now let's pull the rug out from under them. This isn't black metal. Murmuure is ritual industrial, no bones about it. It's clear that One really likes black metal and has made an effort to incorporate black metal sounds in the guitars and vocals, but the pervasive influence here is Coil. Indeed, One hasn't made any effort to hide this. The ominous synth lines and crushing bass synth? The keening Japanese flute, the swelling strings, the primal horns? The heavy use of cymbals and other percussion to create textures? This is all very much in line with the sounds Coil explored on How To Destroy Angels and Scatology, and especially on the second half of Horse Rotorvator. Even more important, Murmuure evokes that feel of esoteric paganism. Once you realize that Murmuure is an industrial band, all the seemingly disparate "things that are not black metal" come together. On an industrial album, it's not weird to obscure everything behind waves of warm distortion. It's not weird to cut up guitar parts. It's not weird to use dozens of tracks to sculpt dense, overpowering layers of sound.

So, if this album isn't some bizarre cocktail of black metal and really hip reference points, why should we like it? Because it's insanely creative, well-written music. One has totally taken apart an original guitar improvisation, turning it into a series of painstakingly crafted compositions, but he has preserved the feeling of spontaneity. The album is filled with beautiful moments that rarely if ever repeat themselves, though they always seem to echo something that came before. Murmuure's melodies--if you can call them that--move with a logic that is totally their own, pulling the drums far beyond conventional time and rhythm. This band gives us no "sections" or "riffs," just the immanent process of music coming into being. With its emphasis on the act of creation (or emergence), the album completely transcends formula.

If that isn't enough, One succeeds in channeling the spirit of Coil while remaining wholly his own artist. He has arrived at an equilibrium, a productive dialogue with the voices of Balance and Christopherson. With these powerful allies, he has quite literally created a potent work of magick.

"The entire Murmuüre soundtrack is based on a one-hour guitar improvisation recording from November 2006. Sequences were selected and edited to have a rhythmic structure, then coupled to other sound layers. This endless mixing and rewriting process took 3 years before it was completed. The percussion is a mixture of drums programmed during the original recording, and some extremely re-edited live percussion. The voice was captured with a mini-disc recorder during a cathartic trance in a sacred place in the middle of the forest. Being almost inaudible, it is purely symbolic and its only vocation is to convey this intention.
This 30-minute recording could be Murmuüre's first and last album"




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Re: France - One song per day.

Postby Romain » Sun May 12, 2019 7:05 pm

Next song.

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Re: France - One song per day.

Postby Romain » Sun May 12, 2019 7:28 pm

Guy Reibel - Suite pour Edgar Poe - 1983 - Classical
Modern Classical, Electroacoustic, Choral

Last.fm
Guy Reibel (1936, Strasbourg, France) is a conductor, a composer, a teacher and a promoter of electroacoustic music. Reibel studied music at the Conservatoire de Paris (now CNSM). He has been a member of the Groupe de recherches musicales (GRM) from 1963 to 1983. He's also responsible for the realization of the sonic version of the Traité des objets musicaux from Pierre Schaeffer.

He is at the origin of the 2nd generation of "Corps sonores" (initiated by Pierre Schaeffer) instruments created and developed by Patrice Moullet and represented in particular by the omni interface to control virtual sound systems, consisting of 108 plates of 108 different colours distributed over a slightly spherical surface of 160 cm in diameter and benefiting from Emmanuel Flety's converters from the IRCAM.

Producer from 1977 to 1986 for public radio stations France Culture & France Musique. Founder of the choir workshop of Radio France focused on premiering challenging contemporary works. Conductor of Groupe Vocal de France from 1986 to 1990 with which he recorded the complete Ligeti works for voice. Now conductor of Radio France Choir on a regularly basis from 1991.

First assistant of Pierre Schaeffer during his electroacoustic composition courses at CNSM before fully establishing himself as a teacher from 1976.


OMNI interface?
https://www.youtube.com/watch?v=141-nzdyGag


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Re: France - One song per day.

Postby Romain » Tue May 14, 2019 8:22 am

Next song.

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Re: France - One song per day.

Postby Romain » Tue May 14, 2019 8:32 am

Bourvil - La ballade Irlandaise - 1958
Chanson.

Interpret:
André Bourvil, born André Robert Raimbourg (French pronunciation: ​[ɑ̃dʁe buʁˈvil]; 27 July 1917, Prétot-Vicquemare, France – 23 September 1970, Paris), often known mononymously as Bourvil, was a French actor and singer best known for his roles in comedy films, most notably in his collaboration with Louis de Funès in the films Le Corniaud (1965) and La Grande Vadrouille (1966). For his performance in Le Corniaud, he won a Special Diploma at the 4th Moscow International Film Festival.

His father was killed in the First World War before Bourvil was born. As a result, he spent his entire childhood in the village of Bourville, from which he took his stage name. He married Jeanne Lefrique on 23 January 1943. After a battle with Kahler's syndrome, which attacks the bone marrow, he died at the age of 53. He is buried in Montainville, Yvelines.

In his comic performances Bourvil principally played roles of gentle and well-meaning characters who were often a bit obtuse or naïve, such as his roles opposite the hyperactive, dishonest and bossy ones played by Louis de Funès. Bourvil's characters not only managed to make viewers laugh, but also to save themselves, often unwittingly, from the Machiavellian designs of his adversaries.

Bourvil was, however, also capable of more dramatic roles such as the handyman in L'Arbre de Noël (1969). In this role he observes the relationship between a man he works for and the young son who has fallen ill. The audience can identify with the character played by Bourvil, just as they can in his comic roles, so often as a simple man. One can also note his role of Monsieur Thénardier in the film adaptation of Les Misérables (1958), and his last role as the policeman Mattei in Jean-Pierre Melville's Le Cercle rouge (1970).

In March 1948, Bourvil took part in the complete recording of Offenbach's The Tales of Hoffmann with artists of the Paris Opéra-Comique conducted by André Cluytens, playing the four 'servant' roles.

Words:
Eddy Marnay, the professional name of Edmond Bacri, (Algiers, 18 December 1920 – 3 January 2003), was a French songwriter. In his career, he wrote more than 4000 songs, including works for Édith Piaf, Frida Boccara and Céline Dion. He was joint winner, as lyricist, of the Eurovision Song Contest in 1969 for Un Jour, Un Enfant, sung by Frida Boccara. He also wrote the title song for Charlie Chaplin's 1957 film A King in New York.

Music:
Émile Stern (28 April 1913 – 14 January 1997) was a French composer, pianist and conductor of Romanian descent. He was born in Paris. Together with his writing partner Eddy Marnay they wrote one of the winning songs for the 1969 Eurovision Song Contest: Un jour, un enfant, sung by Frida Boccara. He wrote the scores for Claude Berri's film Mazel Tov ou le Mariage.


By Renaud:
https://www.youtube.com/watch?v=t1Bgs_cvqZI

Un oranger sur le sol irlandais,
On ne le verra jamais.
Un jour de neige embaumé de lilas,
Jamais on ne le verra.
Qu'est ce que ça peut faire?
Qu'est ce que ça peut faire?
Tu dors auprès de moi,
Près de la rivière,
Où notre chaumière
Bat comme un cœur plein de joie.

Un oranger sur le sol irlandais,
On ne le verra jamais.
Mais dans mes bras, quelqu'un d'autre que toi,
Jamais on ne le verra.
Qu'est ce que ça peut faire?
Qu'est ce que ça peut faire?
Tu dors auprès de moi.
L'eau de la rivière,
Fleure la bruyère,
Et ton sommeil est à moi.

Un oranger sur le sol irlandais,
On ne le verra jamais.
Un jour de neige embaumé de lilas,
Jamais on ne le verra.
Qu'est ce que ça peut faire?
Qu'est ce que ça peut faire?
Toi, mon enfant, tu es là!

An orange tree in the irish land
We'll never see that.
A snowy day that lilac fills
Never we'll see that.
What's the matter ?
What's the matter ?
You're sleeping next to me
Near the river
Where our cottage
Beats like a heart full of joy.

An orange tree in the irish land
We'll never see that.
But in my arms, someone other than you
Never we'll see that.
What's the matter ?
What's the matter ?
You're sleeping next to me.
The river's water
Smells like heather
And your sleep is mine.

An orange tree in the irish land
We'll never see that.
A snowy day that lilac fills
Never we'll see that.
What's the matter ?
What's the matter ?
You, my child, you are here !

Thanks to CaillouChou on LyricsTranslate.

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Re: France - One song per day.

Postby Romain » Fri May 17, 2019 11:33 am

Next song.

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Re: France - One song per day.

Postby Romain » Fri May 17, 2019 11:45 am

J.C.Satàn - Waiting For You - 2015
Garage Rock, Psychedelic Rock, Garage Punk

Album: J.C. Satàn ( RYM: 3.44/5)

JC Satan is a quintet from Bordeaux with a diabolical garage-rock obedience but running away to other styles no less interesting. Arthur, Dorian and Romain have released several albums with his two Italian girls, Paula and Alice, including their first two in 2010 and 2011 on the American label Slovenly Recordings.
The band, which has quite a few splits (with Piresian Beach and Le Pecheur) and EPs to its credit, experienced a growing revival when it released in October 2012 its third excellent album entitled Faraway land on the French-Belgian Teenage Menopause label. JC Satan is a rather personal universe where the soul of the Pixies of the first era is not very far away. The female presence, no doubt.




I'm just here behind the pane,
looking out for your car's light
In the dark I'm waiting for you again
I just changed another dress,
smoked thousand cigarettes
I'm always here waiting for you again
I'm waiting for you
I'm here for you
This is my struggle, this is my love
I did the same for you before
I will wait like I'm waiting tonight
I just tried to figure out what this place has meant for us
I'm alone while I'm waiting for you again
My conviction is to feel enclosed by the things recalling (me) us
I'm alone while I'm waiting for you again

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Re: France - One song per day.

Postby Romain » Mon May 20, 2019 12:56 pm

Next song.

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Re: France - One song per day.

Postby Romain » Mon May 20, 2019 1:03 pm

Mylène Farmer - Sans contrefaçon - 1987
Chanson, Pop, Synthpop

Album: Ainsi soit je... (RYM: 3.57/5)

Artist Biography by Jason Birchmeier (Allmusic)

Mylène Farmer is a French pop superstar who rose to fame in the 1980s and topped the charts time and time again for decades thereafter. Known for giving precious few interviews, she is a deeply mysterious figure with a cult following of fans around the world. A strongly visual artist, Farmer has made videos and live performances an integral part of her musical statement and its inclination toward taboo subject matters such as sex and death. Farmer's breathy, sensuous vocals were accompanied by upbeat dance-pop on her 1986 debut Cendres de Lune, and she began exploring edgier, moodier musical landscapes with 1991's L'Autre, while 1995's Anamorphosee displayed the influence of alternative rock. In the 2000s, Farmer moved deeper into electronic dance music with Point de Suture, Bleu Noir (the latter featuring production by Moby), and Interstellaires.

Born Mylène Jeanne Gautier on September 12, 1961 in Montreal, Quebec, Canada, she moved to France at age eight and attended the Parisian drama school Cours Florent as a teenager. While studying to become an actress, she adopted the name Mylène Farmer in tribute to Frances Farmer, an iconic Hollywood actress from the 1930s. Upon meeting fellow Cours Florent student Laurent Boutonnat, Farmer made her recording debut as a pop singer with "Maman a Tort" in 1984. "Maman a Tort" was the first of many Farmer songs composed by Boutonnat, who also directed a risqué video starring Farmer as a Lolita figure in a revealing nightgown. More singles followed, and Farmer eventually scored her first Top Ten hit with "Libertine" in 1986. Her full-length album debut, Cendres de Lune (1986), was released around this same time.

Her second album, Ainsi Soit Je... (1988), spawned her first chart-topping single, "Pourvu Qu'elles Soient Douces," another provocative song with an epic video that ran for nearly 20 minutes and coupled French history with sex and death. As with subsequent albums, all the lyrics of Ainsi Soit Je... were written by Farmer while Boutonnat composed the music and directed the videos. In addition to her recording output, Farmer established herself right away as a dramatic concert performer, releasing the first of many live albums with En Concert in 1989.
Following her third album L'Autre... (1991), Farmer's subsequent studio albums appeared sporadically, released every half-decade or so, as her music evolved from archetypal European dance-pop to more adventurous alternative sounds on Anamorphosee (1995), while she explored electronic music on Point de Suture (2008). Despite the long absences, her popularity never waned; for instance, Point de Suture spawned five straight number one hit singles, while she mounted sold-out concert tours and released an array of live and remix albums.

Farmer returned in the latter half of 2010 and appeared on celebrated French songstress Line Renaud's record Rue Washington, where she performed a duet and wrote "C’est Pas l’Heure." The same year she also released her well-received eighth album, Bleu Noir, which topped the French charts for three consecutive weeks. Farmer enlisted Lady Gaga producer RedOne to handle the production and write music for the record, which marked the first material without longtime collaborator Boutonnat; Moby also produced several tracks. In 2011, a second greatest-hits collection, 2001-2011, was released, containing all of her hit singles since the 2001 release Les Mots. Farmer returned in relatively speedy fashion with Monkey Me in 2012, which debuted at number one on the French charts and went triple platinum in her homeland. Farmer enjoyed similar commercial success with 2015's Interstellaires, which included the song "Stolen Car," a duet with Sting. In 2017, Farmer signed a recording contract with Sony Music after fulfilling her deal with Universal; her first album for Sony was tentatively scheduled for release in the fall of 2018.

The song:
"Sans contrefaçon" ("Without Forgery/Counterfeit") is a 1987 song recorded by French artist Mylène Farmer. It was released on 16 October 1987 as the first single from her second studio album, Ainsi soit je.... It was a big hit in 1987 and is one of her three best-selling singles. It became a very popular song in France over the years and has been covered by many artists. A remixed version by the DJ J.C.A. was released on 5 August 2003 as the first single from the compilation album called RemixeS.

Written by Farmer in 1987, the theme of "Sans contrefaçon" was inspired by two other songs, "Comme un garçon" by Sylvie Vartan and "3è Sexe" by the band Indochine. Photographer Elsa Trillat explained that the lyrics were written very quickly (taking somewhere between thirty minutes and two hours) by poolside, using a dictionary of synonyms. Laurent Boutonnat came that same day to the large Provençal-styled villa where both women were and immediately wrote the music which would accompany the lyrics. Farmer decided to change her dress style to match the song theme. In the French magazine Elle, she spotted a checkered and striped suit and asked Bertrand Le Page to wear it for the sleeve covers that illustrated the various single formats. These photos were shot in Paris by Elsa Trillat. Finally, the song was chosen to be the lead single from Farmer's second album, Ainsi soit je..., and its title became "Sans contrefaçon, je suis un garçon".

On Farmer's advice, Bertrand Le Page made numerous approaches to the NRJ radio station for it to broadcast the song twice as often, which contributed to its success. The song quickly became very popular in France and also became one of the singer's best known songs.

The song was a hit in nightclubs but did not sell very well as it was released as a vinyl record only.



[Intro: Dis Maman, pourquoi je suis pas un garçon?]

[Refrain]
Puisqu'il faut choisir à mots doux je peux le dire
Sans contrefaçon, je suis un garçon
Et pour un empire je ne veux me dévêtir
Puisque sans contrefaçon, je suis un garçon

[Couplet 1]
Tout seul dans mon placard
Les yeux cernés de noir
A l'abri des regards
Je défie le hasard
Dans ce monde qui n´a ni queue ni tête
Je n'en fais qu'à ma tête
Un mouchoir au creux du pantalon
Je suis chevalier d´Éon

[Refrain]
Puisqu'il faut choisir à mots doux je peux le dire
Sans contrefaçon, je suis un garçon
Et pour un empire je ne veux me dévêtir
Puisque sans contrefaçon, je suis un garçon

[Couplet 2]
Tour à tour on me chasse
De vos fréquentations
Je n'admets pas qu'on menace mes résolutions
Je me fous bien des qu'en dira-t-on
Je suis caméléon
Prenez garde à mes soldats de plomb
C'est eux qui vous tueront

[Refrain]
Puisqu'il faut choisir à mots doux je peux le dire
Sans contrefaçon, je suis un garçon
Et pour un empire je ne veux me dévêtir
Puisque sans contrefaçon, je suis un garçon

[Pause instrumentale]

[Refrain]
Puisqu'il faut choisir à mots doux je peux le dire
Sans contrefaçon, je suis un garçon
Et pour un empire je ne veux me dévêtir
Puisque sans contrefaçon, je suis un garçon


Since I have to chose,
I can say it in sweet nothing,
With no forgery
I am a boy
And I wouldn't get undressed
For the world
Since with no forgery
I am a boy

All alone in my cupboard
With black rings under my eyes
Sheltered from the looks
I challenge hazard
In this world which have no sense
I go my own way
A handerkchief in my pants
I am Chevalier d'Eon*

Since I have to chose,
I can say it in sweet nothing,
With no forgery
I am a boy
And I wouldn't get undressed
For the world
Since with no forgery
I am a boy

Alternately I am being driven out of your company
I can't stand my resolutions to be threatened
I don't give a damn about gossips
I am a cameleon
Be careful of my toy soldiers
They are the ones who will kill you

Since I have to chose,
I can say it in sweet nothing,
With no forgery
I am a boy
And I wouldn't get undressed
For the world
Since with no forgery
I am a boy

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Re: France - One song per day.

Postby Romain » Wed May 22, 2019 7:40 pm

Next song.

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Re: France - One song per day.

Postby Romain » Wed May 22, 2019 7:51 pm

Daniel Vangarde (Yamasuki) - AIEAOA - 1971
Vocal Group, Pop, Exotica, Psychedelic Pop, Funk,

LP: Le Monde Fabuleux Des Yamasuki (RYM: 3.58/5)


Wikipédia:
Daniel Vangarde, born Daniel Bangalter (French pronunciation: ​[danjɛl bɑ̃ɡaltɛʁ]) in 1947, is a French songwriter and producer. He co-wrote and produced a number of hit records in the 1970s, including "Aie a Mwana", "D.I.S.C.O." (recorded by Ottawan), and "Cuba" (The Gibson Brothers).

In the early 1970s, he worked with French singers, husband and wife Ringo (real name Guy Bayle) and Sheila (later known as Sheila B. Devotion), as well as releasing some records under his own name in France. On many of these and later records he worked with fellow writer and producer Jean Kluger.

In 1971 Vangarde and Kluger released the cult LP Le Monde Fabuleux Des Yamasuki as the Yamasuki Singers, a pseudo-Japanese concept album of pop songs, described on the sleeve of its CD reissue as "a fuzzed-out-educational-multi-cultural psych-rock-opera.... proto-psychedelic hip-hop with overweight drum beats and basslines", which much later became a highly sought-after source of drum and bass breaks. The song "Aieaoa" on the album was later recorded, as "Aie a Mwana", first by Black Blood and then by Bananarama, becoming the first UK hit for the latter group.

Vangarde's main international successes came later in the 1970s, as writer and producer with Ottawan's "D.I.S.C.O." and the Gibson Brothers's "Cuba". He also worked extensively with the Antillean group La Compagnie Créole, popular in France in the 1980s. As Who's Who he recorded the album Who's Who in 1979.


Vangarde is the father of Thomas Bangalter, who is best known as a member of the electronic music duo Daft Punk. He is credited with aiding the duo in their early musical career.

Album review on RYM:
Close your eyes. You're a kid again. You can barely read or spell. But you're undeterred. You are a sponge, you are frenetic and you loooooove to make noise. And laugh. What? Sing songs in Japanese? Sure, what the heck. Don't know the language, but it sounds cool. Heh heh, this is fun. You're alive.

Without going into too much detail about the actuals, this album was made by 2 French guys (Jean Kluger and Daniel Vangarde) in 1971. They learned some Japanese and contracted some children's choirs to sing. Franco-japonais funk magic was born! It's like Sesame Street at its rockinest out, joined by the Muppet band and the gang at Hot Fudge.

The songs? Everyone of them hits, every single one. Don't know a lick of the language (would like to learn one day), but it doesn't matter. Funky drummer beats, fat ass bass, ricka-wah guitar and a chorus of innocent French kids singing their hearts out. "Yamasuki" blasts in with one of the adults shouting like some samurai, and an occidental-oriental portal into hip-hop is born. Wondrous stuff.

"Kono Samouraï" with its thick fuzz guitar which riffs like the fine Turkish groups of the time; "Yama Yama" with such a modern minimalism built on a large bass drum echoed to hell; "Seyu Sayonara" with its pendulum chords and swinging bass, a track that could've been placed on Emperor Tomato Ketchup and nobody would have been the wiser. And then there's "Aieaoa". What's a dipthong but with 6 continuous vowels? A sixthong? WTF is the word for that? What does it mean, "Aieaoa"? One take is that it is how to teach kids skills with vowels while rawking out! Don't remember my grade school teachers writing anything that cool.

Throughout the album there is a strong hint of the music-scope parlayed by Jean-Claude Vannier, a lush flexi-funk which is the greatest contribution of music from France during the early 1970s: no accident that Finders Keepers Records made these two albums their first releases, and Andy Votel proudly writes the liner notes.

There's naught to compare this record, what kind of inspired coke do you have to snort to think of doing a project like this, let alone to execute it the way they did?! You couldn't do a project like this in today's paranoid world. It's way ahead of its time, and our own time hasn't caught up to whenever that is. And that's the thing about being a kid: you have all the time in the world, and everything is possible... so why not?! An absolutely essential listen.




Black Blood cover:
https://www.youtube.com/watch?v=ew4T5I4XvMo
Bananarama cover:
https://www.youtube.com/watch?v=_hkeIF05Reg
La compagnie créole cover:
https://www.youtube.com/watch?v=SAQqbgIPp-o

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Romain
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Re: France - One song per day.

Postby Romain » Sun May 26, 2019 7:14 pm

Next song.

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Romain
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Re: France - One song per day.

Postby Romain » Sun May 26, 2019 7:21 pm

Véronique Sanson - Besoin de personne - 1972
Chanson, Pop

Album: Amoureuse (RYM: 3.53/5)


Artist Biography by Olivier Duboc (Allmusic)
The first thing that comes to mind when evoking French singer/songwriter Véronique Sanson is her voice. A warm, passionate, soothing voice, both uplifting and deep, coupled with fine piano playing, a combination that summons comparison with the likes of Carole King, Laura Nyro, or Janis Ian. Yet even though she was immensely talented and encountered wide success both inside and outside of France, she revealed herself best under the influence of the ones she loved and admired. That's how she first reached success in the early '70s, when married to influential singer Michel Berger. She made two LPs under his tutelage, 1972's L'Amoureuse and De l'Autre Côté de Mon Rêve.
Only a year later, she left him to marry Stephen Stills (they had a son, Christopher Stills, in 1974) and reached another creative peak (as illustrated on 1974's masterpiece Le Maudit). She recorded dozens of records, usually under the guidance of Bernard Saint-Paul, including her second album, 1974's delightful Vancouver. The controversy surrounding her 1988 LP LeVenin because of the track "Allah" was a tough blow to her passionate and somehow fragile character, especially since she was then under protection like Salman Rushdie, even more so since she had meant that song as a peace message. Yet, she came back strong in the '90s with a successful LP, Sans Regrets, driven by hit single "Rien Que de l'Eau." She was rewarded in both 1993 and 1996 by a Victoire de La Musique for Best Female Artist, and after a brief marriage to humorist Pierre Palmade, payed homage to Michel Berger in 2000's D'un Papillon à une Etoile. She was back on-stage in the mid-'00s after having encountered health issues, a comeback celebrated by successful tours, good DVD sales, and a 2008 box set of her complete LP discography.



Je n'ai eu besoin de personne
Pour le rencontrer un jour
Ni qu'on me raisonne
Pour m'aider à voir l'amour

Besoin de personne
Quand je me suis fait ma loi
Besoin de personne
Quand il est venu vers moi

Refrain:
Je l'ai conquis toute seule
Il m'a offert toute sa vie
Je crois que j'ai dit oui, oui...
Je l'ai conquis toute seule
Il m'a offert toutes ses nuits
Je crois que j'ai tout pris
Que j'ai tout pris

Besoin de personne
Pour choisir le chemin de ma vie
Besoin de personne
Pour pleurer quand il me renie

Besoin de personne
Quand je me suis fait ma loi
Besoin de personne
Quand il est venu vers moi

au Refrain

Besoin de personne
Pour le rencontrer un jour
Ni qu'on me raisonne
Pour m'aider à voir l'amour

It took no one
to help me meet him one day
No one to talk it through with me
to help me see that it was love

It took no one
Once I had made up my mind
It took no one
When he came my way

Refrain:
I won him all by myself
He gave me his very life
I think I said yes, yes...
I won him all by myself
He gave me his every night
I think I got what was mine
All that was mine

It takes no one
To help me choose my path
It takes no one
To help me cry when he turns me away

It took no one
Once I had made up my mind
It took no one
When he came my way

Refrain

It took no one
to help me meet him one day
No one to talk it through with me
to help me see that it was love

Thanks to boonskis on LyricsTranslate.

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Romain
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Re: France - One song per day.

Postby Romain » Tue May 28, 2019 7:52 am

Next song.

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Romain
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Re: France - One song per day.

Postby Romain » Tue May 28, 2019 8:01 am

Flavien Berger - La fête noire - 2015
Synthpop, Indie Pop, Progressive Electronic, Art Pop

Album: Léviathan (RYM: 3.41/5)

Wikipédia:
Flavien Berger is a French singer born on July 2, 1986 in Paris. A hybrid artist mixing electro and psychedelia, Flavien Berger discovered musical composition on his Playstation 2 with Music 2000. Born into a family in the film industry with his mother as editor, Flavien Berger moved to sound design at the ENSCI - Les Ateliers. He developed his first experiments with other art students, who later became the Sin collective and moved to Brussels. Together, they produce installations, video projects for which Flavien composes the soundtracks.





Je plonge à l'envers, attiré par l'extase
Un tourbillon vert illumine les sirènes
Le reflet des flambeaux dans du vomi turquoise
Le plus beau des voyages, c'est la fête foraine.
Le plus beau des voyages, c'est la fête foraine
Oh la fête, fo
Fo
Fo
La fête fo
Fo

Oui l'endorphine s'est envolée
Traçant un arc dans la nuit
De la couleur des opiacés
Sous la voûte, je m'évanouis
J'extirpe ma tête hors de nos
jeux dans lesquels, je me crois mort.
Je suis seul avec, l'or de l'eau
Sous la surface de l'aurore
Je quitte le va et viens des âmes,
De l'autre coté du plongeoir.
Au loin le reflet du vacarme,
D'une fête foraine
D'une fête foraine devenue noire.
La fête noire.
La fête noire.
La fête noire.
La fête noire.

Le cercle céleste dessiné par l'écrit
Mes lunettes effilochent le spectre des fontaines
Les yeux collés au ciel, tous les visages brillent
Le plus beaux des voyages c'est le fête foraine
Le plus beaux des voyages c'est la fête foraine
Oh la fête fo
La fête fo
fo
La fête fo
fo

Oui l'endorphine s'est envolée
De l'autre coté du plongeoir
De la couleur des opiacés
D'une fête foraine
D'une fête foraine
Devenue noire
La fête noire
La fête noire

Galeb_G4
Superunknown
Posts: 6
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Re: France - One song per day.

Postby Galeb_G4 » Wed May 29, 2019 4:18 pm

Next song ; don't hesitate to remove my post if it violates some rule!

Tagada Jones - De l'Amour & Du Sang - 2013
Punk, punk rock
Album : Dissident

Wikipédia (rough translation from French)

Tagada Jones is a French punk rock band from Rennes, Brittany. The band's musical style is influenced by the heavy metal and electro genres. The current members are Niko (singing, guitar), Waner (Right 4 Life, Kickback, Nevrotic Explosion, plays the bass) , Stef (guitar), Job (Right 4 Life, Tromatized Youth, Nevrotic Explosion, plays the drums) and played more than 1800 concerts in 24 countries.





Dans les années 40, le rock'n'roll est né
La femme s'émancipe, a le droit de voter.
Les Nazis sont au tapis, l'OMS est lancé,
L'ordinateur est inventé et Pétain enterré.

Les années 50, c'est le temps des happy Days,
Les goulags disparaissent, Staline nous fous la paix,
Spoutnik est en orbite, avec l'étoile Monroe,
Pendant que Genève fête le Vietnam et le Laos.

Dans les années 60, Kennedy est a Terre,
Amstrong est sur la Lune, les Hippies en colère,
Cuba fête ses missiles, Prague qui retombe en hiver
Gainsbourg chante l'amour et Alger n'est plus en guerre.

Les années 70, le punk est en fête
Mesrine est démasqué est on pleure Allende
Un choc pétrolier assèche la planète
C'est la prise de Saïgon et la fête pour les Viets!

Whooohooohooooo
De l'amour, du sang, des rires, des larmes!
Hoohooohoooooo
Des guerres et des paix, du pétroles et des armes!
hoohoohoo
Jusqu'ici tout est normal!
hoohoohoo
L'histoire oscille toujours entre le bien et le mal!

Les années 80, c'est l'aire de libéral
La chute du communisme, et d'une navette spatiale
Tchernobyl est en feu, Selamen est a sang
Le virus du SIDA commence à frapper dans tous les rangs!

hoohoohoo
Jusqu'ici tout est normal!
hoohoohoo
L'histoire oscille toujours entre le bien et le mal!
hoohoohoo
De l'amour, du sang, des rires, des larmes!
hoohoohoo
Des Guerres, des paix, du pétrole et des armes!
(Et des armes)

Les années 90, c'est la guerre du Koweït
Les guerres en Tchétchénie, et en Yougoslavie
Le génocide Rwandais, les massacres en Liberia
On clône les brebis et on invente l'extasie!

hoohoohoo
De l'amour, du sang, des rires des larmes!
hoohoohoo
Des guerres, des paix, du pétrole, et des armes!
hoohoohoo
Jusqu'ici tout est normal!
hoohoohoo (hoohoohoo)
L'histoire oscille toujours entre le bien et le mal!

(la la, lalalalala, lalalalala, la la la, la la la)x2

Pour le XXI ème siècle on rêvait de liberté
De conquête, d'espace, d'amour, de prospérité,
Même le monde virtuelle ne pourra rien changer,
L'homme devra se contenter de la réalité!

(la la, lalalalala, lalalalala, la la la, la la la)x4
hoohoohoo
Jusqu'ici tout est normal! (la la, lalalalala, lalalalala,
la la la, la la la)
hoohoohoo
L'histoire oscille toujours entre le bien et le mal!(la la,
lalalalala, lalalalala, la la la, la la la)
hoohoohoo
De l'amour, du sang, des rires, des larmes! (la la,
lalalalala, lalalalala, la la la, la la la)
hoohoohoo
Des guerres et des paix, du pétrole, et des armes!
Last edited by Galeb_G4 on Fri May 31, 2019 3:05 pm, edited 1 time in total.

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Romain
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Location: Lyon, France

Re: France - One song per day.

Postby Romain » Wed May 29, 2019 4:43 pm

Oooh, thanks Galeb. Good job.
La mise en forme est bonne. Le plus dur est de trouver la traduction des paroles, je les demande ou les trouve le plus souvent sur le site LyricsTranslate.
Pour le lien Youtube qui ne fonctionne pas, il suffit de prendre celui avec le https et ce sera bon :-)
J'ai un p'tit code couleur, ne me demande pas pourquoi :-) Orange pour le jazz, bleu pour le classique, violet pour l'électro et rouge pour tout le reste.

Evidemment, si tu souhaites continuer et pour éviter les doublons, tu peux regarder dans la liste que je mets presqu'au début de chaque page.

Sinon, depuis quelques pages, après des dizaines de pages où je ne mettais que des nouveaux groupes à chaque message, maintenant, j'alterne chanson connue/groupe obscur.

Merci.

BobPatience
Let's Get It On
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Location: Amsterdam, The Netherlands

Re: France - One song per day.

Postby BobPatience » Wed May 29, 2019 9:52 pm

Galeb_G4 wrote:[youtube]https://www.youtube.com/watch?v=e1o9FwUGaMw[/youtube] (can't get it to work, help pls)


There's a [youtube-https] tag, this should work:

Code: Select all

[youtube-https]https://www.youtube.com/watch?v=e1o9FwUGaMw[/youtube-https]
Festina Lente

Galeb_G4
Superunknown
Posts: 6
Joined: Thu May 23, 2019 5:01 pm

Re: France - One song per day.

Postby Galeb_G4 » Fri May 31, 2019 3:07 pm

Merci Romain, je vais voir si je peux sortir une petite traduction de mon propre cru pour les paroles,à défaut de trouver ça en anglois.

Pour ce qui est de ma participation régulière, je ne garantis rien, mais si je participe , je vérifierai bien si la chanson n'a pas déjà été postée, et tâcherai de suivre le rythme connu/obscur!

And thanks BobPatience, I did that and it works. I'm getting old, these tags are getting too complicated for me... :D

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Romain
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Re: France - One song per day.

Postby Romain » Fri May 31, 2019 3:47 pm

Claude François - Alexandrie Alexandre - 1978
Chanson, disco

Wikipédia:
Claude Antoine Marie François (French: [klod ɑ̃twan maʁi fʁɑ̃swa]; 1 February 1939 – 11 March 1978), also known by the nickname Cloclo, was a French pop singer, composer, songwriter, producer, drummer and dancer. François co-wrote the lyrics of "Comme d'habitude" (composed by Jacques Revaux and himself), the original version of "My Way" and composed the music of "Parce que je t'aime mon enfant", the original version of "My Boy". Among his most famous songs are "Le Téléphone Pleure", "Le lundi au soleil", "Magnolias for Ever", "Alexandrie Alexandra" and "Cette année là".

François sold some 70 million records during his career (and after his death) and was about to embark for the US when he was accidentally electrocuted in March 1978 at age 39.

Former French President Valéry Giscard d'Estaing is quoted as saying Claude François was, to him, "the French equivalent of The Beatles, meaning the great talent of a generation".

The son of a French father and a Calabrian mother, Claude Antoine Marie François was born in Egypt, in the city of Ismaïlia, where his father, Aimé François (1908–1961), was working as a senior manager in the Anglo-French Suez canal company on the Suez Canal. In 1951, the job took the family to the city of Port Tewfik (now Suez Port). He had an older sister, Josette (born 1934), who wrote her memoirs in 2008.

François' mother, Lucia Mazzeï (1910–1992) was very musical and had her son take piano and violin lessons. On his own, the boy learned to play the drums. As a result of the 1956 Suez Crisis, the family returned to live in Monaco, where they struggled financially after François' father fell ill and could not work. The family's expulsion from Egypt was traumatic. He found a job as a bank clerk and at night earned extra money playing drums with an orchestra at the luxury hotels along the French Riviera. With a good singing voice, he was offered a chance to sing at a hotel in the fashionable Mediterranean resort town of Juan-les-Pins. His show was well received and eventually he began to perform at the glamorous night-clubs along the Côte d'Azur. His father turned his back on his son when he became a musician in Monte Carlo in 1957. While working in a club in 1959, he met Janet Woollacott; they wed in 1960.

François moved to Paris, where there were many more opportunities to pursue his career. At the time, American rock and roll was taking hold in France and he took a job as part of a singing group to make a living. With the goal of eventually making it as a solo act, he paid the cost to record a 45rpm. Trying to capitalise on the American dance craze "The Twist", he recorded a song titled "Nabout Twist" that proved a resounding failure. Undaunted, in 1962 he recorded a cover version in French of an Everly Brothers song, "Made to Love" (aka "Girls Girls Girls").[citation needed]

François' career continued to blossom under a new manager. In 1963 he followed the first success with another French adaptation of an American song, this time recording "If I Had a Hammer" and "Walk Right In" in French as "Si j'avais un marteau" and "Marche Tout Droit". François met Michel Bourdais who was working for the well-known French magazine Salut les Copains ("Hi Buddies") and he asked him to draw his portrait.

On 5 April 1963, he headlined at the Paris Olympia, a sign that he had arrived. At the end of that year, François created original new dance steps, and Michel Bourdais drew them. For the first time, they brought up the idea of setting up a show with female dancers. In 1964, he began a relationship with a 17-year-old Eurovision-winning singer, France Gall, which lasted until 1967.

In 1967, he and Jacques Revaux wrote and composed a song in French called "Comme d'habitude" ("As Usual"), which became a hit in Francophone countries. Canadian singing star Paul Anka reworked it for the English-speaking public into the now legendary hit most famously sung by Frank Sinatra as "My Way". He sang the original version of "Parce que je t'aime, mon enfant" ("Because I Love You My Child") in 1971; it remained relatively little-known in France but Elvis Presley covered it under the title "My Boy".

Although François continued his successful formula of adapting English and American rock and roll hits for the French market, by the 1970s the market had changed and the disco craze that swept North America took root in France. This was no problem for the versatile François; he simply re-invented himself as the king of French disco, recording "La plus belle chose du monde", a French version of the Bee Gees' hit record, "Massachusetts".

Looking for new talent, he came across a singing family of two sisters and their cousins. These ladies became known as "Les Flêchettes" (named after "Flêche", the production label he owned). He produced a couple of albums for them before his death, and the ladies went on to sing for some of the major stars in European music. He worked non-stop, touring across Europe, Africa and at major venues in Quebec in Canada.

However, in 1971, his workload caught up with him when he collapsed on stage from exhaustion. After a brief period off, he returned to the recording studios, releasing several best-selling hits throughout the early 1970s. He expanded from owning his own record company to acquiring a celebrity magazine and a modelling agency.

After working in Switzerland on 9 and 10 March and recording a television special for the BBC on Saturday, 11 March 1978, François returned to his Paris apartment, 46 Boulevard Exelmans, to appear, the next day, on Les Rendez-vous du Dimanche with TV host Michel Drucker. While taking a shower, he noticed that the light fixture was not straight on the wall; he tried to straighten it and was electrocuted. His body was buried in the village of Dannemois, in the Essonne department (about 55 km (34 mi) south of Paris), near which Claude François owned a house where he often spent time relaxing.


Chanson:
Alexandrie Alexandra is a disco song composed in 1977 by Jean-Pierre Bourtayre and Claude François, based on lyrics written by Étienne Roda-Gil, and performed by Claude François.

She released a single on Wednesday, March 15, 1978, the day of the funeral of her interpreter, who died accidentally on Saturday, March 11, 1978. More than 800,000 copies will be sold in France.

It was recorded in October 1977, and released in December 1977 on the album Magnolias for Ever. The music is by Jean-Pierre Bourtayre and Claude François, and the lyrics by Étienne Roda-Gil.

Shortly before, Lamont Dozier, artist of the "Tamla Motown" came to France to promote his new album.

Claude François met him during Jacques Martin's television show "Musique And Music".

After having made friends, Claude François invited him to dinner at his home at the Moulin de Dannemois to introduce him to Jean-Pierre Bourtayre.

They discuss music during the meal and then Claude invites Lamont to sit at the piano, which then plays the introduction to Going Back To My Roots (a song that was later popularized by the Odyssey group in 1981).

This intro will inspire Alexandria Alexandra's musical structure.

Claude had signed for the 45 to be released on Wednesday, March 15, 1978, it was by chance on that date that his funeral was held. We find the song Eve on the B-side.

The lyrics evoke Claude François' native Egypt: the (Islamic) veil ("veils on girls"), the Nile, the Alexandria lighthouse, the legendary sirens, as well as the barracuda. The song is also famous for its choreography, which consists of folding one's arms, raising and swinging one's arms in the air.

There are two versions of this song: the first, the most widespread and a second that highlights the electric guitar, especially at the beginning of the song. This second version is used in his clip for RTL in December 1977 where the image is naturally blurry (Claude had Vaseline put on the eye of the camera).

Orchestrations and choirs are recorded at Trident Studios in London. The 45-rpm version was mixed on February 9, 1978 under the direction of sound engineer Bernard Estardy at CBE studios in Paris.



The strangers will never be able to understand, but this song has been heard in ALL weddings for 40 years. The "Rah! Ha! Rah! Rah! Ha !" with the movements seen in the video is known by all adults over 20. With this song, we have the kids and grannies throwing themselves on the dance floor. :mrgreen:


Rah ! Ha ! Rah ! Ha !

Voile sur les filles, barques sur le Nil
Je suis dans ta vie, je suis dans tes bras
Alexandra, Alexandrie
Alexandrie où l'amour danse avec la nuit
J'ai plus d'appétit qu'un barracuda

Je boirai tout le Nil si tu me reviens pas
Je boirai tout le Nil si tu me retiens pas
Alexandrie, Alexandra
Alexandrie où l'amour danse au fond des bras
Ce soir j'ai de la fièvre et toi, tu meurs de froid

Les sirènes du port d'Alexandrie
Chantent encore la même mélodie
La lumière du phare d'Alexandrie
Fait naufrager les papillons de ma jeunesse

Rah ! Ha ! Rah ! Ha !

Voile sur les filles et barques sur le Nil
Je suis dans ta vie, je suis dans tes draps
Alexandra, Alexandrie
Alexandrie où tout commence et tout finit
J'ai plus d'appétit qu'un barracuda

Je te mangerai crue si tu me reviens pas
Je te mangerai crue si tu me retiens pas
Alexandrie, Alexandra
Alexandrie ce soir je danse dans tes draps
Je te mangerai crue si tu me retiens pas

Les sirènes du port d'Alexandrie
Chantent encore la même mélodie
La lumière du phare d'Alexandrie
Fait naufrager les papillons de ma jeunesse

Rah ! Ha ! Rah ! Ha !
Voile sur les filles, barques sur le Nil

Alexandrie, Alexandra
Ce soir j'ai de la fièvre et toi, tu meurs de froid
Ce soir je danse, je danse, je danse dans tes bras

Allez danse ! Oui danse !
Danse, danse, danse, danse !

Alexandrie, Alexandra
Ce soir je danse, je danse, je danse dans tes bras

Rah ! Ha ! Rah ! Ha !

Veil on the girls, boats on the Nile
I'm in your life, I'm in your arms
Alexandria, Alexandra
Alexandria, where love dances with the night
I've more appetite than a barracuda

I'll drink the whole Nile if you don't get back to me
I'll drink the whole Nile if you don't hold me back
Alexandria, Alexandra
Alexandria, where love dances into your arms
Tonight I've got fever and you're freezing to death

The port mermaids of Alexandria
Are still singing the same tune
The Alexandria lighthouse light
Is making the butterflies of my youth wreck

Rah ! Ha ! Rah ! Ha !

Veil on the girls, boats on the Nile
I'm in your life, I'm in your sheets
Alexandria, Alexandra
Alexandria, where everything begins and ends
I've more appetite than a barracuda

I'll eat you raw if you don't get back to me
I'll eat you raw if you don't hold me back
Alexandria, Alexandra
Alexandria, tonight I'm dancing on your sheets
I'll eat you raw if you don't hold me back

The port mermaids of Alexandria
Are still singing the same tune
The Alexandria lighthouse light
Is making the butterflies of my youth wreck

Rah ! Ha ! Rah ! Ha !
Veil on the girls, boats on the Nile

Alexandria, Alexandra
Tonight I've got fever and you're freezing to death
Tonight, I'm dancing, I'm dancing, I'm dancing into your arms

Go ahead, dance ! Yes, dance !
Dance, dance, dance, dance !

Alexandria, Alexandra
Tonight, I'm dancing, I'm dancing, I'm dancing into your arms

Thanks to Floppylou on LyricsTranslate.

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Romain
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Re: France - One song per day.

Postby Romain » Mon Jun 03, 2019 9:20 am

Next sng.

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Romain
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Posts: 3835
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Re: France - One song per day.

Postby Romain » Mon Jun 03, 2019 9:32 am

L'enfance Eternelle - Violet Winter - 1986
Coldwave, Post-Punk, Gothic Rock

Album: Le jour des fous (RYM: 3.44/5)

Discogs
L’Enfance Eternelle was born in November 83. The story starts quite fastly as a gig is found before the first note to be played. September 85 sees a second TV on FR3, then come the recording of a new 4 track demo tape, issued to 500 copies and quickly sold out. On May 17 1986 a gig at La Bourse Du travail in Lyon with the band Gestalt is recorded, to be the first album. 1200 peoples attend to theis Jour des Fous. From September to December 1988 the second album is recored, La Terre des Innocents. The release party accored at le Truck in front of 1200 persons for a party together with their old chaps Opéra de Nuit on April 15 1989. The last demo, never finished is the end of the band in December 1990. Bertrand “Cheap” goes on with Bob's Your Uncle and The Camelia Street Blury Experiment in Paris. Fabrice Della-Malva and Jérôme “Dien” Bideaux make an hardcore band: Garlic Frog Diet. Christophe Neau goes for jazz rap with Lex Léo. Pat aka DJ Pee found his own band Le Peuple de l’Herbe, his brother Kriss doing the sound for concerts with the succes we know. Marquis opens a trendy piercing shop on Lyon. Franck “Kreppux” goes on with theatre and chanson. Pascal “Bô Mouton” Prenez band’s photographer becomes a syndicalist. Jérôme Margotton founds the acid jazz band Mo’ Jazz Beats, and then mOko. Denis Lecarme runs into French chanson with L’Orchestre de Poche and nowadays under is own name.


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Romain
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Re: France - One song per day.

Postby Romain » Tue Jun 04, 2019 6:40 pm

Next song.

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Romain
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Re: France - One song per day.

Postby Romain » Tue Jun 04, 2019 6:52 pm

Nicolas Peyrac - So far away from L.A. - 1975
Chanson, folk

Album: D'où-Venez-vous ?

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.

In 1992, Nicolas' close friend and colleague Michel Berger suddenly died of a heart attack, prompting him to take control of his life again. He started writing again, helped by former colleagues and friends, and released an album less than a year later. This marked his return to the spotlights, although it took some time for him to be fully back on track.

With his father's help, Nicolas emigrated to Montreal, Canada, giving him new energy and motivation. It is there he finished his novel, Qu'importe le boulevard où tu m'attends ("Whatever boulevard you wait for me"), published in 1994. In 1995, he temporarily returned to his father's home in Brittany, writing large parts of his 1995 album J'avance ("I progress"). Following its release, Nicolas extensively toured Quebec, and the following year he returned to France, starring at the Casino de Paris and the Bobino.

A conflict with his record company led to a two-year delay of his next album, Autrement ("Otherwise" or "Differently"), which was released in 1999 by an independent label. Although positively received by the critics, it failed to be noticed by the public.

Following the release of Autrement, Nicolas kept writing and recording almost non-stop. Through a friend he met his new manager, Pierre Illias, who arranged a record deal with BMG. A year later he released a new album, Seulement l'amour ("Only love"), followed in 2006 by Vice versa, both albums accompanied by extensive touring. 2006 also saw the publishing of his second novel, J'ai su dès le premier jour que je la tuerais ("I knew from day one I'd kill her"). In 2009 he released his latest album, Case départ ("Square one"), again followed by a tour, and his third novel, Elsa.



Quelques lueurs d'aéroport
D'étranges filles aux cheveux d'or
Dans ma mémoire traînent encore
C'est l'hiver à San Francisco
Mais il ne tombe jamais d'eau
Aux confins du Colorado
Et le Golden Gate s'endort
Sur Alcatraz où traînent encore
Les sanglots couleurs de prison
Monsieur Caryl Chessman est mort
Mais le doute subsiste encore
Avait-il raison ou bien tort?

So far away from L.A
So far ago from Frisco
I'm no one but a shadow
But a shadow, a shadow

The Queen Mary est un hôtel
Au large de Beverly Hills
Et les collines se souviennent
Des fastes de la dynastie
Qui de Garbo jusqu'à Bogie
Faisait raisonner ses folies

So far away from L.A
So far ago from Frisco
I'm no one but a shadow
But a shadow, a shadow

Pauvre madame Polanski
D'un seul coup on t'a pris deux vies
Et qui donc s'en souvient ici?
C'est l'hiver à San Francisco
Je ne trouverai le repos
Qu'aux confins du Colorado

So far away from L.A
So far ago from Frisco
I'm no one but a shadow
But a shadow, a shadow
But a shadow, a shadow

Some airport lights
Foreign girls with golden hair
Still lingers in my memory
It's winter in San Francisco
But the water never falls
On the borders of Colorado
And the Golden Gate falls asleep
On Alcatraz where prison coloured sobs
Still lingers
Mister Caryl Chessman is dead
But doubt still remains
Was he right or was he wrong?

So far away from L.A
So far ago from Frisco
I'm no one but a shadow
But a shadow, a shadow

The Queen Mary is a hotel
Off Beverly Hills
And the hills remembers
The dynasty's splendours
Who from Garbo to Bogie
Made them see reason to their madness

So far away from L.A
So far ago from Frisco
I'm no one but a shadow
But a shadow, a shadow

Poor Madame Polanski
With one single blow they took two lives from you
And who actually remembers that here?
It's winter in San Francisco
I will only find rest
On the borders of Colorado

So far away from L.A
So far ago from Frisco
I'm no one but a shadow
But a shadow, a shadow
But a shadow, a shadow

Thanks to donaurora on LyricsTranslate.
Last edited by Romain on Fri Jun 14, 2019 7:10 am, edited 1 time in total.

User avatar
Romain
Die Mensch Maschine
Posts: 3835
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Postby Romain » Fri Jun 07, 2019 10:41 am

Next song.


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