France - One song per day.

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Romain
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Posts: 4070
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain » Fri Jun 07, 2019 10:56 am

Lara Fabian - Je t'aime - 1998
Chanson, Pop, Adult Contemporary, Dance-Pop.
Belgian.

Album: Pure (RYM: 3.48/5)

Artist Biography by Heather Phares (Allmusic)
Belgian-born pop singer/songwriter Lara Fabian began singing, dancing, and taking piano lessons at a very young age and formal music lessons at the Royal Conservatory of Brussels at age eight. During her ten years of study there, Fabian started writing and performing her own songs, which were inspired as much by her classical vocal and music theory training as they were by Barbra Streisand and Queen. After finishing her studies, Fabian moved to Montreal and began her own label and publishing company, Productions Clandestines. Collaborator/producer Rick Allison, an old friend from Brussels, joined her in Montreal and the pair worked steadily on writing and recording songs. In 1991, Fabian's French-language debut, Lara Fabian, was released in Canada and sold over 100,000 copies in three years.

Her consistent touring in Quebec helped bolster her 1994 album Carpe Diem to similar success, paving the way for 1997's Pure, which sold over two million copies in France and featured the anti-homophobia anthem "La Difference." The live album Fabian released a year later solidified the international buzz around her and she was signed by Sony Music, which released her self-titled English-language album in 2000. It was a huge success across the globe, reaching number one in the U.S. Heatseekers chart and it rocketed to the top of the French charts.

A year later she returned to the French language for her fifth album, Nue, which documented her tumultuous time during the overwhelming success of her previous album. In 2004, Fabian released her second English record, A Wonderful Life. The album featured a collection of acoustic pop songs and included "Review My Kisses" -- a track Fabian originally turned down for the album. However, after being impressed by LeAnn Rimes' version, she recorded the song herself.
9 Just a year later, Fabian released 9, her fifth French studio album, which for the first time was not produced by longterm collaborator Rick Allison. Instead, Jean-Félix Lalanne took the helm and brought about a distinct change in Fabian's pop sound. The highly anticipated collaboration with pianist Matt Herskowitz, Toutes Les Femmes en Moi, arrived in 2009 and collected songs from an array of artists such as Celine Dion and Edith Piaf. 2010 saw the release of the compilation Best of Laura Fabian, which included the hit single "I Will Love Again" and her duet with Johnny Hallyday "Requiem Pour un Fou."

Three years later, Fabian returned with her 11th studio album, Le Secret, featuring the marriage equality anthem "Deux Ils, Deux Elles." It debuted at number one on the French charts. She then worked with producer/songwriters David Gategno and Elodie Hesme on 2015's Ma Vie Dans la Tienne. In 2017, Fabian delivered her 13th studio album and fifth English-language release, Camouflage. Featured on the album were collaborations with veteran songwriter Sharon Vaughn and producer/songwriter Moh Denebi, including the lead single "Growing Wings."

Album
Lara Fabian's third studio album Pure, was a three million-selling album, which reached Diamond status in France, from which came the anti-homophobia anthem "La Différence." The album went platinum in less than two weeks. Lara again was bestowed with awards, being awarded a Félix Award for Popular Album Of The Year at the 1997 ADISQ gala and was also nominated for two Juno Awards of 1997 in the Best Female Singer and Best Selling French Album categories. Pure has become one of the best-selling French-language albums of all time.

D'accord, il existait
D'autres façons de se quitter
Quelques éclats de verre
Auraient peut-être pu nous aider
Dans ce silence amer
J'ai décidé de pardonner
Les erreurs qu'on peut faire
À trop s'aimer

D'accord, la petite fille
En moi souvent te réclamait
Presque comme une mère
Tu me bordais, me protégeais
Je t'ai volé ce sang
Qu'on aurait pas dû partager
À bout de mots, de rêves
Je vais crier

Refrain :
Je t'aime, je t'aime
Comme un fou, comme un soldat
Comme une star de cinéma
Je t'aime, je t'aime
Comme un loup, comme un roi
Comme un homme que je ne suis pas
Tu vois, je t'aime comme ça

D'accord je t'ai confié
Tous mes sourires, tous mes secrets
Même ceux dont seul un frère
Est le gardien inavoué
Dans cette maison de pierre
Satan nous regardait danser
J'ai tant voulu la guerre
De corps qui se faisaient la paix

Refrain

Je t'aime, je t'aime
Comme un fou, comme un soldat
Comme une star de cinéma
Je t'aime, je t'aime, je t'aime, je t'aime
Comme un loup, comme un roi
Comme un homme que je ne suis pas
Tu vois, je t'aime comme ça

Tu vois, je t'aime comme ça

I admit, there existed
Other ways of parting from each other
A few shards of glass
Might have helped us
In this bitter silence
I decided to forgive
The errors that we made
Loving too much

I admit, the little girl
Inside of me asked you
Almost like a mother
You tucked me in, you sheltered me
I stole you from this blood
That we never should have shared
Lost for words, for dreams
I will cry

(refrain)
I love you, I love you
Like a fool, like soldier
Like a movie star
I love you, I love you
Like a wolf, like a king
Like a man that i am not
You see, i love you like this

I admit, I confided in you
All my smiles, all my secrets
Even those in which only a brother
Is the undeclared guardian
In this house of souls
Satan watched us dance
So I wanted a war
Of bodies that made peace

(refrain)
I love you, I love you
Like a fool, like soldier
Like a movie star
I love you, I love you
Like a wolf, like a king
Like a man that i am not
You see, i love you like this

You see, I love you like this

Thanks to MavisRain on LyricsTranslate.

User avatar
Romain
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Posts: 4070
Joined: Fri Feb 10, 2012 2:25 pm
Location: Lyon, France

Re: France - One song per day.

Post by Romain » Sun Jun 09, 2019 6:59 am

Page 36 Léonin - Viderunt Omnes - 1160 - Classical
Page 9 Adam De La Halle - Jeu de Robin et Marion - 1282 or 1283 - Classical
Page 23 Philippe De Vitry - In Arboris - 1320 - Classical
Page 25 Josquin des Prez - Ave Maria ... Virgo serena - 1485 - Classical
Page 27 Clément Janequin - Le chant des Oyseaulx - 1537 - Classical
Page 35 Nicolas Gombert - In Te Domine Speravi - Motet à six voix - 1539 - Classical
Page 16 Jean-Baptiste Lully - Marche pour la cérémonie des turcs - 1670 - Classical
Page 14 Marc-Antoine Charpentier - Te Deum - 1688/1698 - Classical
Page 29 Michel Richard Delalande - Simphonies pour le Soupers du Roy - Concert de trompettes - 1703 - Classical
Page 32 Jean-Philippe Rameau - Rondeau des Indes galantes (Les sauvages) - 1735 - Classical
Page 16 Claude Joseph Rouget De Lisle - Chant de Guerre pour l'Armée du Rhin ou La Marseillaise - 1792
Page 25 Hector Berlioz - Symphonie Fantastique - Marche au supplice - 1830 - Classical
Page 26 Unknown - Les anges dans nos campagnes - before 1846 - Classical
Page 11 Adolphe Adam - Minuit, chrétiens - 1847 - Classical
Page 33 Charles Gounoud - Ave Maria - 1853 - Classical
Page 5 Édouard-Léon Scott de Martinville - Au clair de la lune - First recorded song - 1860
Page 34 Jean-Romain Grosjean - Il est né le divin enfant - 1862
Page 1 Georges Bizet - Le pêcheur de perles - Je crois entendre encore - 1863 - Classical
Page 27 Jean-Baptiste Clément / Antoine Renard - Le temps des cerises - 1866
Page 30 Louis Théodore Gouvy - Requiem op.70 - 1874 - Classical
Page 4 Camille Saint-Saëns - Danse Macabre op 40 - 1874 - Classical
Page 20 Charles-Marie Widor - Symphonie pour orgue n°5 - Toccata - 1879 - Classical
Page 6 Gabriel Fauré - Élégie pour violoncelle et piano, op 24 - 1880 - Classical
Page 7 Jacques Offenbach - Les contes d'Hoffmann - Belle nuit, ô nuit d'amour - 1881 - Classical
Page 11 Léo Delibes - Lakmé - Duo des fleurs - 1883 - Classical
Page 19 Emmanuel Chabrier - España - 1883 - Classical
Page 30 Yvette Guilbert - Le fiacre - 1888
Page 3 Erik Satie - Gymnopédie n°3 - 1888 - Classical
Page 18 Vincent D'Indy - Tableaux de voyage op.33 - Le Glas - 1889 - Classical
Page 35 Erik Satie - Gnossienne n°1 - 1890 - Classical
Page 13 Ernest Chausson - Concert pour violon, piano et quatuor à cordes en Ré majeur op.21 - Sicilienne - 1892 - Classical
Page 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 36 Bourvil - La ballade Irlandaise - 1958
Page 19 Guy Béart - L'eau vive - 1958
Page 15 Anny Flore - Julie la rousse - 1958
Page 7 Jacques Brel - Ne me quitte pas - 1959
Page 21 Philippe Clay - L'accordéon - 1959
Page 28 André Dassary - Adieu tristesse - 1959
Page 20 Roger Guérin - Discord - 1959 - Jazz
Page 22 Darío Moreno - Tout l'amour - 1959
Page 25 Georgette Plana - L'hirondelle du faubourg - 1959
Page 25 Michel Simon - Mémère - 1959

Page 1 Bourvil - C'était bien (au petit bal perdu) - 1960
Page 35 René Leibowitz - Marijuana, variations non sérieuses, Op. 54 - 1960 - Classical
Page 4 Juliette Gréco - Il n'y a plus d'après - 1960
Page 13 Gilian Hills - Zou bisou bisou - 1960
Page 23 André Hodeir - Jazz et Jazz - 1960 - Jazz
Page 6 Edith Piaf - Non, je ne regrette rien - 1960 
Page 29 Paul Blamar - Moin çé on maléré - 1961
Page 15 Les Double Six - Tickle Toe (Le racket et les balles) - 1961 - Jazz
Page 11 Zizi Jeanmaire - Mon truc en plumes - 1961
Page 14 Marcel Amont - Un Mexicain - 1962
Page 18 Isabelle Aubret - Un premier amour - 1962
Page 36 Gilbert Bécaud - Et maintenant - 1962
Page 24 Leny Escudero - Pour une amourette - 1962
Page 27 Les Fantômes - Cafards - 1962
Page 12 Maurice Jarre - Lawrence of Arabia - 1962 - OST
Page 19 Michel Magne - Mélodie en sous-sol - Palm Beach thème - 1962 - OST & Jazz
Page 35 Claude Nougaro - Le cinéma - 1962
Page 10 Francis Poulenc - Sonate pour clarinette, 2ème mouvement : Romanza - 1962 - Classical
Page 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 36 Daniel Vangarde (Yamasuki) - AIEAOA - 1971
Page 23 Igor Wakhevitch - Materia Prima - 1971
Page 9 Dominique Blanc-Francard - Ailleurs/Icare - 1972
Page 20 Charles Dumont - Comme une fugue de Bach - 1972
Page 6 Michel Fugain - Une belle histoire - 1972
Page The Moving Gelatine Plates - The world of genius Hans – 1972
Page 31 Jane et Julie - Notre homme à moi - 1972
Page 3 Maxime Le Forestier - San Fransisco - 1972
Page 27 Philippe Nicaud - C'ex - 1972
Page 3 Les variations - Je suis juste un rock'n'roller - 1972
Page 20 Catherine Ribeiro + Alpes - Paix - 1972
Page 13 Véronique Sanson - Amoureuse - 1972 
Page 36 Véronique Sanson - Besoin de personne - 1972
Page 22 Ann Sorel - L'amour à plusieurs - 1972
Page 3 Jean-Claude Vannier - Les gardes volent au secours du roi - 1972
Page 8 Philippe Besombes - La ville - 1973
Page 17 Vladimir Cosma - L'Affaire Crazy Capo - 1973 - OST
Page 7 Diane Dufresne - J'ai Rencontré L'homme De Ma Vie - 1973
Page 25 Les Frères Jacques - La confiture - 1973
Page 2 Alain Goraguer - La Planète Sauvage - 1973 - OST & Electro
Page 22 Pierre Groscolas - Lady Lay - 1973
Page 14 Lafayette Afro Rock Band - Hihache - 1973
Page 15 Serge Lama - Je suis malade - 1973
Page 2 Magma - Mekanïk Destruktïw Kommandöh - 1973/1989
Page 24 Tonio Rubio - Bass in action n°2 - 1973
Page 13 Stone et Charden - Made in Normandie - 1973
Page 11 The Peppers - Pepper Box - 1973 - Electro
Page 6 Areski Belkacem - C'est normal - 1974
Page 35 Bimbo Jet - El Bimbo - 1974
Page 2 Christophe - Les Mots Bleus - 1974 
Page 24 Marcel Dadi - Le derviche tourneur - 1974
Page 3 Dalida - Il venait d'avoir 18 ans - 1974
Page 26 Bernard Estardy - Gang Train - 1974
Page 1 Nino Ferrer - Le sud - 1974
Page 3 Daniel Guichard - Mon vieux - 1974
Page 20 Jean-Claude Pelletier - Hello Streakers! - 1974
Page 33 Atoll - L'araignée-Mal - 1975
Page 20 Joe Dassin - L'été indien - 1975
Page 18 Cortex - La rue - 1975 - Jazz
Page 36 Bernard Fèvre - Molecule Dance - 1975 - Electro
Page 17 Gérard Grisey - Partiels - 1975 - Classical
Page 18 Harlem pop Trotters - Penwick - 1975
Page 20 Il était une fois - J'ai encore rêvé d'elle - 1975
Page 29 Teddy Lasry - Los Angeles - 1975
Page 13 Gérard Lenorman - La Ballade des gens heureux - 1975
Page 3 Gérard Manset - Il voyage en solitaire - 1975
Page 1 Jeanne Moreau - India Song - 1975
Page 11 Janko Nilovic - Drug Song - 1975
Page 36 Nicolas Peyrac - So far away from L.A. - 1975
Page 35 Nicolas Peyrac - Et mon père - 1975
Page 20 Pulsar - Pollen - 1975 - Electro
Page 8 Resonance - OK Chicago - 1975
Page 6 Jean Yanne - Chobizeness - Coït - 1975 - OST
Page 3 Jane Birkin - Ballade de Johnny Jane - 1976
Page 32 Cerrone - Love in C Minor - 1976
Page 24 Richard Clayderman - Ballade Pour Adeline - 1976
Page 4 Jean-Michel Jarre - Oxygène Part IV - 1976 - Electro
Page 16 Michel Colombier - L'Alpagueur - Main Theme - 1976 - OST
Page 30 Dick Rivers - Faire un pont - 1976
Page 3 Philippe Sarde - Le locataire - Main theme - 1976 - OST
Page 13 The Droids - The Force - 1976 - Electro
Page 10 Wapassou - Messe en ré mineur - 1976
Page 23 Cerrone - Supernature - 1977
Page 6 Philippe Chatel - J't'aime bien Lili - 1977
Page 12 Yves Duteil - Prendre un enfant - 1977
Page 7 Little Bob Story - Riot in Toulouse - 1977
Page 28 Moon Birds - Cristal N°3 - 1977
Page 5 Marie Myriam - L'enfant et l'oiseau - 1977
Page 7 Plastic Bertrand - Ça plane pour moi - 1977
Page 9 Jean-Luc Ponty - Mirage - 1977 - Jazz
Page 11 Zachary Richard - Travailler, c'est trop dur - 1977
Page 23 Yves Simon - Diabolo Menthe - 1977
Page 3 SpAce - Magic Fly - 1977 - Electro
Page 9 Space Art - Onyx - 1977 - Electro
Page 16 A 3 Dans les WC - Contagion - 1978
Page 15 Black Devil - H-Friend - 1978 - Electro
Page 31 Bulldozer - J'suis punk - 1978
Page 12 Louis Chédid - T'as beau pas être beau - 1978
Page 36 Claude François - Alexandrie Alexandre - 1978
Page 36 Mama Béa Tekieelski - Ballade pour un bébé robot - 1978
Page 16 Marie et les Garçons - Re-Bop - 1978
Page 8 Métal Urbain - Paris Maquis - 1978
Page 12 Michel Sardou - Je vole - 1978
Page 28 Richard Vimal - Migrations - 1978
Page 30 Jean-Pierre Alarcen - Premier mouvement - 1979
Page 13 Cabrel - Je l'aime à mourir - 1979
Page 5 Jean-Patrick Capdevielle - Quand t'es dans le désert - 1979
Page 21 Eric Charden - L'été sera chaud - 1979
Page 16 Joël Fajerman - Flowers Love - 1979 - Electro & OST
Page 31 Philippe Guerre - Marche Blues - 1979 - Electro
Page 5 Patrick Hernandez - Born to be alive - 1979
Page 11 Jacques Higelin - Champagne - 1979
Page 29 Lio - Le Banana Split - 1979
Page 18 Lizzy Mercier Descloux - Fire - 1979
Page 25 Les Olivensteins - Euthanasie - 1979
Page 12 Jacques Loussier - Pulsion - 1979 - Jazz
Page 31 Chris O'Hara - Sur les coussins de la discothèque - 1979
Page 1 Pierre Perret - Mon P'tit Loup - 1979
Page 31 Sheila B. Devotion - Spacer - 1979
Page 16 Stinky Toys - Birthday Party - 1979

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

Page 21 Michel Berger - Le paradis blanc - 1990
Page 18 Elmer Food Beat - Daniela - 1990
Page 35 Jane Birkin - Love Fifteen - 1990
Page 7 Pauline Ester - Oui, je l'adore - 1990
Page 12 Liane Foly - Au fur et à mesure - 1990
Page 34 Les Freluquets - La débauche - 1990
Page 5 Thierry Hazard - Le Jerk - 1990
Page 24 Little Nemo - L'heure d'hiver - 1990
Page 2 Niagara - J'ai Vu - 1990
Page 18 Vanessa Paradis - Tandem - 1990
Page 1 Pigalle - Dans la salle du bar tabac de la rue des Martyrs - 1990
Page 17 Diane Tell - La légende de jimmy - 1990
Page 19 Joëlle Ursull - White & Black Blues - 1990
Page 25 Les Wampas - Petite fille - 1990
Page 22 Assassin - Esclave de votre société - 1991
Page 4 Au P'tit Bonheur - J'Veux du Soleil - 1991
Page 19 Dany Brillant - Suzette - 1991
Page 27 Jil Caplan - Tout c'qui nous sépare - 1991
Page 9 Fédération Française de Funk - New Funk Génération - 1991
Page 24 Kent - Tous les mômes - 1991
Page 6 Les Inconnus - Auteuil, Neuilly, Passy - 1991
Page 14 Jean-Louis Murat - Col de la Croix-Morand - 1991
Page 1 Les Rita Mitsouko - Les Amants - 1991
Page 34 Yannick Noah - Saga Africa - 1991
Page 21 Peter Kitsch - Come On sur mon scoot - 1991
Page 30 Les Rats - Je m'emmerde - 1991
Page 2 William Sheller - un Homme Heureux - 1991
Page 2 Mc Solaar - Bouge de là ! - 1991
Page 28 Caline Georgette - On danse - 1992
Page 18 Deep Forest - Sweet Lullaby - 1992
Page 34 Noir Désir - Tostaky (Le continent) - 1992
Page 10 Les innocents - L'autre Finistère - 1992
Page 10 Pow Wow - Le Chat - 1992
Page 19 Regg'Lyss - Mets de l'huile - 1992
Page 27 Les VRP - Aujourd'hui, c'est dimanche - 1992
Page 2 L'affaire Louis Trio - Mobilis In Mobile - 1993 
Page 31 Âme strong S.A. - Tout est bleu - 1993 - Electro
Page 13 Billy Ze Kick - Mangez-moi ! Mangez-moi ! - 1993
Page 17 Alain Chamfort - L'ennemi dans la glace - 1993
Page 23 Pascal Comelade - Promenade des Schizophrenes - 1993
Page 24 Enzo Enzo - Juste quelqu'un de bien - 1993
Page 33 Loudblast - Cross the Threshold - 1993
Page 17 Axelle Red - Sensualité - 1993
Page 2 Alain Souchon - Foule Sentimentale - 1993 
Page 10 Les Thugs - As happy as possible - 1993
Page 7 Pierre Vassiliu - La vie ça va - 1993
Page 33 Alai Bashung - Ma petite entreprise - 1994
Page 13 Daran et les chaises - Dormir dehors - 1994
Page 7 Gérald De Palmas - Sur La Route - 1994
Page 2 IAM - Le Mia - 1994
Page 20 Lynda Lemay - Le plus fort, c'est mon père - 1994
Page 15 Ministère A.M.E.R. - Plus vite que les balles - 1994
Page 15 Alliance Ethnik - Respect - 1995
Page 29 Arno - Les yeux de ma mère - 1995
Page 26 Blankass - La couleur des blés - 1995
Page 4 Dominique A - Le Twenty-Two bar - 1995
Page 24 Miossec - Non non non non - 1995
Page 21 Mütiilation - Born Under the Master’s Spell - 1995
Page 11 Kat Onoma - La Chambre - 1995
Page 26 Silmarils - Cours vite ! - 1995
Page 2 Suprême NTM - Paris sous les bombes - 1995 
Page 30 Blaszcyk et Les Electrolux - Pour vous Madame - 1996
Page 13 Diabologum - La Maman et la Putain - 1996
Page 5 Dimitri from Paris - Sacré Français - 1996 - Electro
Page 6 Doc Gynéco - Nirvana - 1996
Page 33 G-Squad - Aucune fille au monde - 1996
Page 4 Juliette - Rimes Féminines - 1996
Page 6 Khaled - Aïcha - 1996
Page 8 Valérie Lemercier - Goûte mes frites - 1996
Page 20 Philippe Léotard - Lonesome Piéton - 1996
Page 30 Nuttea - La weed brûle - 1996
Page 29 Manu le Malin - An old dream - 1996 - Electro
Page 14 Motorbass - Flying Fingers - 1996
Page 32 Sloy - Idolize - 1996
Page 3 Yann Tiersen - J'suis jamais allé - 1996
Page 17 Tonton David - Chacun sa route - 1996
Page 8 Ophélie Winter - Dieu m'a donné la foi - 1996
Page 25 Gabriel Yared - The English Patient - Theme - 1996 - OST
Page 3 Daft Punk - Around The World - 1997 - Electro
Page 35 Daft Punk - Da Funk - 1997 - Electro
Page 21 Dolly - Je n'veux pas rester sage - 1997
Page 6 Era - Ameno - 1997
Page 21 Faudel - Tellement je t'aime - 1997
Page 12 Laurent Garnier - Crispy Bacon - 1997 - Electro
Page 10 La Tordue - lola - 1997
Page 20 Les Ogres de Barback - Rue de Panam - 1997
Page 1 Louise Attaque - J't'emmène au vent - 1997
Page 16 Massilia Sound System - Brûle ces papiers - 1997
Page 16 Ménélik - Je me souviens - 1997
Page 19 No One Is Innocent - Nomenklatura - 1997
Page 10 Florent Pagny - Savoir aimer - 1997
Page 17 Rachid Taha - Ya Rayah - 1997
Page 12 Air - Sexy Boy - 1998 - Electro
Page 10 René Aubry - La Grande Cascade - 1998 - Classical
Page 25 Autour de Lucie - Sur tes pas - 1998
Page 5 Alain Bashung - La nuit je mens - 1998
Page 36 Richard Cocciante/Patrick Fiori, Daniel Lavoie and Garou - Belle - Notre-Dame de Paris - 1998
Page 29 Marc Collin - Les Kid Nappeurs - Thème principal - 1998- OST
Page 27 Francis Dhomont - Je te salue, vieil océan ! - 1998 - Classical & Electronic
Page 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 36 Murmuüre - Murmuüre - 2010
Page 14 Al'Tarba - Pain Killers - 2011
Page 4 Arthur H - Cheval de Feu - 2011
Page Nina Attal - Run Away - 2011 - Jazz
Page 22 Ludovic Bource - The Artist - Main Theme - 2011 - OST
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 36 Hubert-Félix Thiéfaine - La ruelle des morts - 2011
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 36 Tagada Jones - De l'Amour & Du Sang - 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 36 Flavien Berger - La fête noire - 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 36 J.C.Satàn - Waiting For You - 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 36 Jessica93 - Anti cafard 2000 - 2017
Page 32 Christophe Julien - Au revoir là-haut - Bon voyage, soldat Maillard - 2017 - OST
Page 32 Madame Guillotine - Cao Bang - 2017
Page 36 Toufic Farroukh - Villes invisibles - 2017 - Jazz
Page 36 Polo & Pan - Coeur croisé - 2017 - Electro
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 95
50's 26
60's 130
70's 128
80's 131
90's 124
00's 117
10's 130
881

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Romain
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Re: France - One song per day.

Post by Romain » Sun Jun 09, 2019 7:12 am

Brace! Brace! - I'm a Jelly - 2018
pop

November 2017. After two EPs and a French tour, Brace! Brace! decides to accelerate with the recording of his first album.
During the composition of the disc, the formation that became a quartet focused on the search for melodic nuances, the exploration of new structures in order to produce "group music".
To do this, the group isolated itself in a quasi-autarchy in a Jura chalet transformed for the occasion into a makeshift studio. These 10 days of recordings will allow them to put this first opus on tape, where Thibault Picot's writing is now mixed with that of Cyril Angleys (whose voice resonates on 3 tracks), Antoine Barbier and Simon Lapillonne.
Born from this collective effort, this first LP reveals a singular oddity, where disorder quietly disrupts pop movements. It is also an opportunity to assume a particular group identity, a jumble sometimes invoking the "weird-pop" spirit of Unknown Mortal Orchestra or Metronomy, the enlightened guitars of Deerhunter without denying a 90's aesthetic rocked to the sound of Blur and Dinosaur Jr. For this third collaboration with Barth Bouveret (Good Morning TV), the disc's production this time focuses on exploring new horizons, but above all on affirming a singularity whose outlines were drawn from the band's previous albums. Carried again by the Howlin Banana Records flag, "Brace! Brace !" will come out with the will to affirm a refined songwriting, shaken by healthy turbulence.

Lately a question haunted me

Among all things I'd do

I wonder which ones i won't live
which ones i won't see

Prepared to move ahead
before retirement age
I settled in a gilded cage
Running my life from my bed

I'm a Jelly
Unstable, inconsistent
Now you see
How hazy it is looking through me

I'd like you to flatten me down
Press hard enough to let me know

Then i'd be invisible
It's a pretty common goal
Disapearing here and now
still i don't know how

I'm a Jelly
Unstable, inconsistent
Now you see
How hazy it is looking through me

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Re: France - One song per day.

Post by Romain » Tue Jun 11, 2019 8:26 am

Next song.

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Re: France - One song per day.

Post by Romain » Tue Jun 11, 2019 8:38 am

IAM - Petit frère - 1997
Conscious Hip Hop, Boom Bap, Political Hip Hop, Hardcore Hip Hop, Pop Rap

Album: L'école du micro d'argent (RYM: 3.77/5)


Allmusic:
Band:
Artist Biography by Vincent Latz
IAM have mixed rage and intelligence throughout a discography that spans three decades, all the while constantly discovering new dimensions to assure hip-hop heads in their home country that there is no need to envy the U.S. The group has roots in hip-hop's birthplace that date back to the early '80s, when founding member Philippe Fragione (aka Chill, later Akhenaton) started making trips to New York City, during which he networked with several rap artists. The visits culminated in Fragione's featured spot on Choice MC's 1988 track "This Is the B Side," released on the Idlers label. By that point, Fragione had also been active in Marseille with Eric Mazel (DJ Khéops) and Geoffroy Mussard (Jo, later Shurik'n), and when he returned there, the trio were eventually joined by producer Pascal Perez (Imhotep) and MCs François Mendy (Kephren) and Malek Brahimi (Freeman). The crew became IAM ("I am"), an acronym for Imperial Asiatic Men and Invasion Arrivée de Mars, among other phrases.

In 1990, IAM circulated a cassette of demo recordings that contained the Egyptian touch that became their trademark, also reflected in the lyrics, which displayed an openness and wider point of view than the usual street perspectives. They garnered considerable attention as they opened for Madonna on dates of her Blond Ambition World Tour and subsequently released their first album, ...De la Planète Mars, through Virgin in 1991. It was the first rap album ever released by a French group, and notably approached different subjects and moods with ease and honesty. Ombre Est Lumière, a double album, followed in 1993. (A single-disc version appeared a year later.) The set included "Je Danse le Mia," a track that put the group on radios and dancefloors across France, and IAM used their increased exposure via press interviews and television appearances to express and affirm their political views. After the group received a Victoire de la Musique award, Fragione went solo and collaborated with the new guard of Marseille, the Fonky Family. Shurik'n, Imhotep, and Malek also drifted toward solo projects. Ombre Est Lumière was eventually certified platinum by SNEP.

tIAM eventually reconvened for the preparation of their third and most successful album. Partially recorded in the U.S. and released in 1997, L'École du Micro d'Argent is regarded as a powerful milestone in French rap, an accomplished piece of art that extended beyond the borders of the French language. It topped charts in France and Belgium, and was eventually certified diamond in the former. After the shock wave receded, the members refocused on personal projects. Akhenaton co-wrote, co-directed, and appeared in the film Comme un Aimant, and assembled music from many of the singers he had loved in his childhood, including Isaac Hayes, Minnie Riperton, and Marlena Shaw, for the soundtrack.

It took a few more years for IAM to return with a new album. Revoir un Printemps arrived in 2003 and reminded listeners of the freshness of the group's sound, contradicting assertions that rap had lost its original spirit. Despite a newfound maturity, IAM continued to include their share of fun, with Method Man and Redman featured on "Noble Art," and even Beyoncé and Syleena Johnson taking part in the adventure. The group continued to record every few years, releasing Saison 5 in 2007, Arts Martiens and IAM in 2013, and Rêvolution in 2017. Although the group's single releases weren't scaling the same heights as they had in earlier decades, each parent release peaked within the Top Ten of the French albums chart.


Wikipédia:
Album:
L'École du Micro d'Argent (The School of the Silver Mic) is an album recorded by IAM. The band became famous worldwide with this album, a classic in French hip-hop music. It was partly recorded in the USA, with some aesthetic influences brought by RZA of the Wu-Tang Clan. On the track "L'Enfer", a sample from Lalo Schifrin's music for Don Siegel's movie "Dirty Harry" can be heard (the electric piano notes).

The album deals with very realistic and dark topics in a sometimes violent and often dark vocal performance. Though it contains few happy "ego-trip" songs, most of these ego songs deal with war metaphors and are sung with violent tone and rhythm. More than the ego schemes, the main topic of the album stay the criticism of French society: life in poor suburbs which leads to a reference to slavery, violence of the youth connected with the violence in television and movies, censorship, racism. At least three songs deal with prostitution, but in ways from irony and fun to violent and dark realism.

The album was a huge success in France. It was said to have sold 1,200,000 copies by rapper Akhenaton in his autobiography La Face B and 1 400 000 copies in a 2011 interview. Other sources tell of 1,500,000 copies. The album is officially certified diamond (1,000,000 copies at the time). In the months following its release, eight of its tracks were played on the rap radio station Skyrock, despite only 4 of them had a music video. The song "Demain, c'est loin", too long to be played on radios, had a music video too. It remains the best selling French hip-hop album.

It is widely considered, among both professionals and the audience, as the best French rap album of all time, though not by the band itself. The album is often quoted as the exception by those who don't like IAM, massilian rap, or French rap in general. The 9 minutes long song "Demain c'est loin" which ends the album has often been quoted as the French Rap Anthem and the best French rap song ever.

Later different versions were released. The version edited now has the song "Libère mon imagination" replaced by the song "Independenza", a single released more than one year after the album and not included in it.

The album won the "Best album of the year" prize (all kinds of genres included) at the French Music Awards ceremony of 1998[citation needed].

The album is considered to have widely influenced French rap artists and French music industry, opening a new era of success for French rap.
Petit frère n'a qu'un souhait devenir grand
C'est pourquoi il s'obstine à jouer les sauvages dès l'âge de 10 ans
Devenir adulte, avec les infos comme mentor
C'est éclater les tronches de ceux qui ne sont pas d'accord

A l'époque où grand frère était gamin
On se tapait des délires sur Blanche-Neige et les 7 Nains
Maintenant les nains ont giclé Blanche-Neige et tapent
Eclatent des types claquent dans Mortal Kombat

A 13 ans, il aime déjà l'argent avide
Mais ses poches sont arides, alors on fait le caïd
Dans les boums, qui sont désormais des soirées, plus de sirop Teisseire
Petit frère veut des bières

Je ne crois pas que c'était volontaire, mais l'adulte c'est certain
Indirectement a montré que faire le mal, c'est bien
Demain ses cahiers seront pleins de ratures
Petit frère fume des spliffs et casse des voitures

Petit frère a déserté les terrains de jeux
Il marche à peine et veut des bottes de sept lieues
Petit frère veut grandir trop vite
Mais il a oublié que rien ne sert de courir, petit frère

Petit frère rêve de bagnoles, de fringues, de tunes
De réputation de dur, pour tout ça il volerait la lune
Il collectionne les méfaits sans se soucier
Du mal qu'il fait, tout en demandant du respect

Peu lui importe de quoi demain sera fait
De donner à certains des raisons de mépriser son cadet
Dans sa tête le rayonnement du tube cathodique
A étouffé les vibrations des Tam-Tam de l'Afrique

Plus de cartable, il ne saurait pas quoi en faire
Il ne joue plus aux billes, il veut jouer du revolver
Petit frère a jeté ses soldats pour devenir un guerrier
Et penser au butin qu'il va amasser

Petit frère a déserté les terrains de jeux
Il marche à peine et veut des bottes de sept lieues
Petit frère veut grandir trop vite
Mais il a oublié que rien ne sert de courir, petit frère

Les journalistes font des modes, la violence à l'école existait déjà
De mon temps, les rackets, les bastons, les dégâts
Les coups de batte dans les pare-brise des tires des instituteurs
Embrouilles à coups de cutter

Mais en parler au journal tous les soirs ça devient banal
Ca s'imprime dans la rétine comme situation normale
Et si petit frère veut faire parler de lui
Il réitère ce qu'il a vu avant 8 heures et demie

Merde, en 80 c'était des états de faits, mais là
Ces journalistes ont faits des états
Et je ne crois pas que petit frère soit pire qu'avant
Juste surexposé à la pub, aux actes violents

Pour les grands, les gosses est le meilleur citron
La cible numéro 1, le terrain des produits de consommation
Et pour être sûr qu'il s'en procure
Petit frère s'assure, flingue à la ceinture

On sait ce que tu es quand on voit ce que tu possèdes
Petit frère le sait et garde ce fait en tête
L'argent lui ouvrirait les portes sur un ciel azur
Aussi facilement que ses tournevis ouvrent celle des voitures

Le grand standing, c'est tout ce dont il a envie
Ca passe mieux quand tu portes Giorgio Armani
Soucieux du regard des gens
Malgré son jeune âge, petit frère fume pour paraître plus grand

Il voudrait prendre l'autoroute de la fortune
Et ne se rend pas compte qu'il pourrait y laisser des plumes
Il vient à peine de sortir de son oeuf
Et déjà petit frère veut être plus gros que le boeuf

Petit frère a déserté les terrains de jeux
Il marche à peine et veut des bottes de sept lieues
Petit frère veut grandir trop vite
Mais il a oublié que rien ne sert de courir, petit frère

Little brother has only one wish, grow up
That's why he persists to become wild from 10 years old
Become an adult, with the TV news as a guide
And slug the disagreers (1)

In the past, when big brother was a kid
It was sheer madness with Snow White and the Seven Dwarves
Now the dwarves have kicked Snow White out and hit
And beat up guys like in Mortal Kombat

At 13 he already loves money, greedy
But his pockets are empty so he acts like a big boss
in the dancing parties, that have now become celebrations, no more syrup
Little brother wants beers

I don't think it was intentional, but adults - that's for sure -
Indirectly showed that harming was a good thing
Tomorrow his exercice books will be full of deletions
Little brother smokes spliffs and break cars

(chorus)
Little brother doesn't go to playgrounds anymore
He still toddles yet wants seven league boot
Little brother wants grow up too fast
But he's forgotten that vain is running, little brother

Little brother dreams about big cars, clothes and dough
About a reputation of bad boy, for all of those, he'd steal the moon
He commits fellony after fellony without caring
About the harm he's done, while asking for respect

He doesn't care much about what tomorrow will bring
About giving certain people reasons to despise him
In his head the cathode ray tube
Smothered the vibrations of the African drums

No more school bag, he wouldn't know what to do with it
He doesn't play marbles anymore, he wanna play guns (2)
Little brother threw his toy soldiers away to become a warrior
and think about the loot he'll amass

(chorus)

Journalists make fashions, school violence already existed
When I was young there were rackets, punch-ups and damages
The teachers' windshields were also broken with baseball bats
They were getting muddled with cutters

But speaking about it in the newsbroadcast becomes usual
It prints in the retina like a normal situation
And if little brother wants to make the news
He only has to imitate what he saw before 8:30 pm

Damn, in the 80's it was a fact but now
Those journalists made the normality out of it
And I don't think that little brother is worse than before
Only overexposed to publicity and violence

For the older, the kids are the best lemon
The number one target for market products
And to be sure that he obtains it
Little brother secures himself with a gun at the belt

They know who you are when they see what you possess
Little brother knows it, and keeps that fact in mind
Money would open a gate to heaven for him
As easily as his screwdriver opens car doors

Grandstanding is all he desires
It looks better, when you wear a Giorgio Armani
Worried about how people see him
In spite of his young age, little brother smokes to appear older

He would take the fortune highway
and doesn't realize that he can lose his shirt
he's only out of his egg
and already little brother wanna be bigger than a steer

(1) and break the face of the ones who disagree / to slug = to hit
(2) airsoft gun, not marble the little thing to play with

Thanks to tonysan and Maëlstrom on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Wed Jun 12, 2019 1:00 pm

Next song.

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Re: France - One song per day.

Post by Romain » Wed Jun 12, 2019 1:16 pm

Luc Ferrari - Presque rien n°1 (Le lever du jour au bord de la mer) - 1970 - Classical
Musique concrète, Field Recordings, Tape Music, Modern Classical, Electroacoustic, Sound Collage

Album: Presque rien no. 1; Société II (RYM: 3.59/5)

Wikipédia:
Luc Ferrari (February 5, 1929 – August 22, 2005) was a French composer and pioneer in musique concrète and electroacoustic music.

Ferrari was born in Paris, and was trained in music at a very young age. He studied the piano under Alfred Cortot, musical analysis under Olivier Messiaen, and composition under Arthur Honegger. His first works were freely atonal. A case of tuberculosis in his youth interrupted his career as a pianist. From then on he mostly concentrated on musical composition. During this illness he had the opportunity to become acquainted with the radio receiver, with pioneers such as Schönberg, Berg, and Webern.

In 1954, Ferrari went to the United States to meet Edgard Varèse, whose Déserts he had heard on the radio, and had impressed him. This seems to have had a great effect on him, with the tape part in Déserts serving as inspiration for Ferrari to use magnetic tape in his own music. In 1958 he co-founded the Groupe de Recherches Musicales with Pierre Schaeffer and François-Bernard Mâche. He taught in institutions around the world, and worked for film, theatre and radio. By the early 1960, Ferrari had begun work on his Hétérozygote, a piece for magnetic tape which uses ambient environmental sounds to suggest a dramatic narrative. The use of ambient recordings was to become a distinctive part of Ferrari's musical language.

Ferrari's Presque rien No. 1 'Le Lever du jour au bord de la mer (1970) is regarded as a classic of its kind. In it, Ferrari takes a day-long recording of environmental sounds at a Yugoslavian beach and, through editing, makes a piece that lasts just twenty-one minutes. It has been seen as an affirmation of John Cage's idea that music is always going on all around us, and if only we were to stop to listen to it, we would realise this. Ferrari continued to write purely instrumental music as well as his tape pieces. He also made a number of documentary films on contemporary composers in rehearsal, including Olivier Messiaen and Karlheinz Stockhausen.

Ferrari died in Arezzo, Italy on August 22, 2005, at age 76.

Electroacoustic music:
Electroacoustic music is a style of Western art music which originated around the middle of the 20th century, following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition to fixed media during the 20th century are associated with the activities of the Groupe de Recherches Musicales (GRM) at the ORTF in Paris, the home of musique concrète, the Nordwestdeutscher Rundfunk (NWDR) studio in Cologne, where the focus was on the composition of elektronische Musik, and the Columbia-Princeton Electronic Music Center in New York City, where tape music, electronic music, and computer music were all explored. Practical electronic music instruments began to appear in the early 1900s.

Musique concrète:
Musique concrète (French pronunciation: ​[myzik kɔ̃.kʁɛt], meaning "concrete music") is a type of music composition that utilizes recorded sounds as raw material (Editors 1998). Sounds are often modified through the application of audio effects and tape manipulation techniques, and may be assembled into a form of montage (Editors 1998). It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment as well as those created using synthesizers and computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, metre, and so on. It exploits acousmatic listening, meaning sound identities can often be intentionally obscured or appear unconnected to their source cause.

Originally contrasted with "pure" elektronische Musik (based solely on the production and manipulation of electronically produced sounds rather than recorded sounds), the theoretical basis of musique concrète as a compositional practice was developed by Pierre Schaeffer, beginning in the early 1940s. From the late 1960s onward, and particularly in France, the term acousmatic music (musique acousmatique) started to be used in reference to fixed media compositions that utilized both musique concrète based techniques and live sound spatialisation.

This piece illustrates or rather insinuates without knowing it, a minimalist approach that will be talked about a lot in the years to come.

Indeed, the Presque rien n°1 (Le lever du jour au bord de la mer), composed between 1967 and 1970, is a composition that materializes the rupture with classical electroacoustic practices. It clearly claims (even more directly than what was called after Heterozygous, anecdotal music), the plan-sequence and the still sound image, a kind of slide that would give to hear a slice of reality, as a working method, and as a way to free oneself from habits. "Initially, the concept of Les Presque Rien has nothing to do with music. We have to transport ourselves back in time; in the 1960s we used to say, noise on one side, music on the other. "Ferrari didn't get caught up in this game. For him, it is about doing something that comes from a great desire without worrying if it falls into a category. In his opinion, the concept cannot be defined as a genre, as an aesthetic or as a technique but as an idea. That is, the concept at the beginning cannot be understood physically, but rather as a general impression that one gives to a body. This concept includes: - a single place - a single time - a certain acoustics.


Brainwashed.com
When Luc Ferrari first presented Presque Rien No. 1: Le Lever du Jour au Bord de la Mer (Almost Nothing No. 1: Daybreak at the Seashore) to his colleagues at the GRM, it caused quite a stir. Ironically for such adventurous experimenters in sound, Presque Rien was both too far away from music and too far away from the main principles of musique concrète. However, the four segments of Presque Rien represent some of the most exciting ideas and sounds in the history of electronic music. It goes far beyond an interesting experiment to being a landmark piece of composition whose effects are still reverberating today.

Condensing a day’s recordings from a beach into one side of vinyl with minimal processing or manipulation, the other members of the GRM probably felt Presque Rien No. 1 would be more at home with documentary makers. However, Presque Rien No. 1 was one of the major milestones following John Cage’s 4’33" in music embracing all sounds as valid ingredients for a piece. These noises are not just a moment in time in a sleepy village but music in and of themselves. It is hard to hear now why this approach would be so upsetting, as field recordings have become such a part and parcel of modern composition; Presque Rien No. 1 sounds pleasant, relaxing and contemplative but certainly not controversial.

Ferrari describes it as an "absence of abstract sounds" which is perhaps that is what was most unnerving to the concrète school at the time as the composer or engineer was immaterial to the music itself. Traditionally (it is amazing how fast tradition sets in, even in the most radical edges of the avant garde), sounds generated within the tenets of musique concrète were manipulated to the point where their origins became obscured. By leaving the sounds unprocessed and by using a completely transparent title, Ferrari blew open the doors of the GRM and opened the field of experimental electronic music completely.



And a scientific research document about this and the concept (in French):
https://hal.archives-ouvertes.fr/hal-01318832/document

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Re: France - One song per day.

Post by Romain » Fri Jun 14, 2019 11:12 am

Next song.

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Re: France - One song per day.

Post by Romain » Fri Jun 14, 2019 11:21 am

Jeanne Mas - En rouge et noir - 1986
Pop, synthpop

Album: Femmes d'aujourd'hui (RYM: 2.44/5)

Wikipédia:
Jeanne Mas, born on 28 February 1958 in Alicante, Spain, but naturalised in France, is a French pop singer and actress.

She is well known in France, Switzerland, Canada and Belgium for a number of hit singles released in the 1980s. Her first success was "Toute première fois" in 1984. This song was simultaneously released in the United Kingdom in English. Two of her singles charted at number one in France: "Johnny, Johnny" and "En Rouge et Noir" in 1985 and 1986, respectively. Her 1980's albums are good examples of the Euro disco electropop style popular in Continental Europe at the time, featuring synthesizers and very catchy melodies.

She started studying languages at the University of Nanterre (near Paris). After one year studying Spanish and Italian, she took off for Italy giving up her studies at the university. She settled in Rome when she was only 18 years old. In Rome, she took dance and acting classes. She started landing small parts in commercials as well as in full-length films and she hosted her own show on a private channel: La Uomo TV. Music was her true passion.

In 1979, she signed her first contract with RCA Italia and recorded her first single : "On the moon", and toured with a rock group which was rather hardcore. She recorded several 45's, one in English and the others in Italian. In 1984, she signed a contract with the Major EMI MUSIC FRANCE. Roberto Zaneli and Romano Musumara wrote her first French Hit : "Toute premiere fois".

"Toute première fois" It was an instant success: she sold more than 900,000 copies of the single which was played on the radio all the way until December.

French people discovered a young woman on their TV screen entirely dressed in black, with jet-black hair, an emaciated face, and very pronounced make-up: a bland version of the punk look. Stimulating choreography with jerky gestures reinforced the image of a woman "who wants some action", almost aggressive. This striking combination of dance and image seduced the young public. The press, the radio, the television and even the discos grabbed hold of this phenomenon.

At the start of the following year, she successively released a second single "Johnny, Johnny" followed by an album simply called Jeanne Mas. To reach a wider audience, she asked Daniel Balavoine for help. He produced two of the songs for the album.

Another single "Coeur en stéréo" was a hit in its own right. In October, she played the Olympia club in Paris for the first time for four triumphant concerts. A few weeks later, she won the equivalent of a grammy for female performer of the year during the first Victoires de la musique.

Building upon this success, ravaging and full of energy, she locked herself in a studio in Denmark to record her next album. Heavily into her work, she'd already started writing her own lyrics. Jeanne Mas had a critical view on music and knew what she wanted. This is why she refused a song written by Musumara which would become "Ouragan" interpreted by the gloss and glitter Princess Stephanie of Monaco. At the beginning of 1986, she released Femmes d'aujourd'hui which went on to sell over 1 million copies. The single from the album "En Rouge et Noir" quickly became a hit. In June, the album and the single were number one on the French charts. In the autumn, she played for seven days at the Palais des Sports in Paris and continued with forty concert dates in the rest of France.

This tour commenced in March 1987 for twenty dates, one of which was a concert in Lyon where a live record and a ninety-minute film were made. She then decided to take a break and take advantage of this time to return to Italy to have a baby, a little girl named Victoria. 1988 allowed her to look closely at her career, her artistic doubts. In September she got involved publicly for a subject that she held close to her heart, crimes against children.

Jeanne nevertheless didn't stay inactive and got back to work quickly with Piero Calabrese. She went into a studio for three months and chose the best musicians for the recording: Manu Katché on drums, Steve Shehan on percussion, Tony Levin on bass and David Rhodes on guitar. In February 1989 a new album titled Les crises de l'âme was released. The lyrics seemed more committed with songs like "J'accuse", "Tango" or still "Y'a des bons..." which denounced violence in the world. The latter song was in fact the first track on the album and Jeanne would make the video clip. In September, she played at Bercy. The tour was cancelled and this was the beginning of her decline.

Album:
Femmes d'aujourd'hui is the second studio album by Jeanne Mas, released in April 1986 by Pathé Marconi. Music for 8 of the 10 tracks was written by Romano Musumarra. The French singer Daniel Balavoine also participated in the production of the album (including "Cœur en stéréo"). Charting from 3 May 1986, it peaked at #1 for two months on the French Albums Chart and featured for 63 weeks in the top 30, most of them in the top ten. It was certified Platinum disc and remains Mas' most successful album to date in terms of sales and chart performance.

Song:
"En Rouge et Noir" is a 1986 French single recorded by Jeanne Mas, from her album Femmes d'aujourd'hui. It achieved a great success in France, topping the chart during 1986 summer. At present, it is undoubtedly the most known song of this artist.

In the music video, Jeanne Mas makes up and chooses dresses in a store, and carries out a photo meeting. At the time of the chorus, the singer appears in a band film which passes through the screen.

In 2005, the song was covered by Jean-Jacques Goldman, Lorie, Gérard Jugnot and Liane Foly at the time of Les Enfoirés's tour.

Si l'on m'avait conseillée
J'aurais commis moins d'erreurs
J'aurais su me rassurer
Toutes les fois que j'ai eu peur
Je me serais blottie au chaud
À l'abri d'un vent trop fier
Et j'aurais soigné ma peau
Blessée par les froids d'hivers
J'aurais mis de la couleur
Sur mes joues et sur mes lèvres
Je serais devenue jolie

J'ai construit tant de châteaux
Qui se réduisaient en sable
J'ai prononcé tant de noms
Qui n'avaient aucun visage
Trop longtemps je n'ai respiré
Autre chose que de la poussière
Je n'ai pas su me calmer
Chaque fois que je manquais d'air
Mes yeux ne veulent plus jouer
Se maquillent d'indifférence
Je renie mon innocence

Refrain :
En rouge et noir, j'exilerai ma peur
J'irai plus haut que ces montagnes de douleur
En rouge et noir, j'afficherai mon cœur
En échange d'une trêve de douceur
En rouge et noir, mes luttes mes faiblesses
Je les connais, je voudrais tellement qu'elles s'arrêtent
En rouge et noir, drapeau de mes colères
Je réclame un peu de tendresse

Si l'on m'avait conseillée
Tout serait si différent
J'aurais su vous pardonner
Je serais moins seule à présent
Somnambule j'ai trop couru
Dans le noir des grandes forêts
Je me suis souvent perdue
Dans des mensonges qui tuaient
J'ai raté mon premier rôle
Je jouerai mieux le deuxième
Je veux que la nuit s'achève

Refrain :
En rouge et noir, j'exilerai ma peur
J'irai plus haut que ces montagnes de douleur
En rouge et noir, j'afficherai mon cœur
En échange d'une trêve de douceur
En rouge et noir, mes luttes mes faiblesses
Je les connais, j' voudrais tellement qu'elles s'arrêtent
En rouge et noir, drapeau d' mes colères
Je réclame un peu de tendresse

En rouge et noir, j'exilerai ma peur
J'irai plus haut que ces montagnes de douleur
En rouge et noir, j'afficherai mon cœur
En échange d'une trêve de douceur

En rouge et noir, en rouge et noir
En rouge et noir, en rouge et noir
En rouge et noir, en rouge et noir
En rouge et noir, en rouge et noir
En rouge et noir, en rouge et noir

Had I been advised
I would have made less mistakes
I would have known how to reassure myself
All the times I was scared
I would have snuggled in a warm place
Away from a too fiercy wind
And I would have cared my skin
for the cold of winters.
I would have put some colour
on my cheeks and on my lips
I would have become pretty

I build so many castles
Which collapsed into sand
I spelt so many names
Which didn't match any face.
For too long I didn't breathe
Anything but dust
I failed to calm myself down
Each time I was suffocating
My eyes don't want to play anymore,
(they) Put a make up of indifference
I now deny my innocence

In red and black, I will exile my fears
I will go higher than these moutains of pain
In red and black, I will display my heart
In return for a truce of softeness
In red and black, my struggles and my weaknesses
I know them, I would like some much them to stop
In red and black, the flag of my angers
I demand a little bit of tenderness

Had I been advised
Everything would be so different
I would have known how to forgive you
I would not be so lonely now
Somnambulist, I ran too much
In the dark of big forests
I often got lost
In killing lies
I failed my first role
I'll play the second one betetr
I want the night to come to an end

In red and black, I will exile my fears
I will go higher than these moutains of pain
In red and black, I will display my heart
In return for a truce of softeness
In red and black, my struggles and my weaknesses
I know them, I would like some much them to stop
In red and black, the flag of my angers
I demand a little bit of tenderness

In red and black, I will exile my fears
I will go higher than these moutains of pain
In red and black, I will display my heart
In return for a truce of softeness

In red and black...

thanks to Vinz67 on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Fri Jun 21, 2019 11:19 am

Next song.

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Re: France - One song per day.

Post by Romain » Fri Jun 21, 2019 11:30 am

Martin Dupont - Inside Out - 1987
Coldwave, Minimal Synth, Synthpop, New Wave

Album: Hot Paradox (RYM: 3.56/5)

Wikipédia (DeepL translate)

Martin Dupont is a French new wave band.

The group was born in Marseille on the ashes of the punk movement in the early 1980s. It was then composed of Alain Seghir, Brigitte Balian and Catherine Loy. After the band's first album, Beverley Jane Crew joined the team and, after a few months and a four-person concert, Catherine Loy left the band. Martin Dupont disappeared as a group in 1987. During his short existence, Martin Dupont has opened for The Lotus Eaters, The Lounge Lizards and Siouxsie and the Banshees.

Unclassifiable despite his affiliation with the new wave, Martin Dupont plays essentially electronic music on which a clarinet is grafted. It has often been compared to New Order for its mysterious aspect (its name composed of the most common surnames in France, the graphic design of the covers, signed Yves Cheynet). Today, the group is considered as "cult" by many.

Brigitte Balian then collaborated with composer Patrick Portella, Beverley Jane Crew became producer of the Contemporary Music Network in London, and Alain Seghir composed for choreographer Jostte Baïz, then stylists Geneviève Delrieux and Patrick Murru before devoting herself to her career as a surgeon. It was during this period that he and Dan Armandy created the Supermax card for the Yamaha DX7, which will be considered as the invention of the year by Jean-Michel Jarre in an interview for keyboards magazine.

The creation of a website by a fan rekindled interest around the group in the early 2000s, although it is unlikely that it will ever reform. It started with a video clip of the song It's so, produced in 2005 by the American label Minimal Wave, almost 20 years after the band's dissolution. The clip is on the French compilation DVD RGB Transferts released in 2006.

Minimal Wave then released in July 2008, as a limited edition vinyl, the compilation Lost & Late. This one includes some titles published on the unpublished 81-83 cassette, released in 1985, with the 45 rpm Your Passion and the version of Just Because that appeared on the album of the same name. The re-release of the albums on CD with many new releases has been available since March 21, 2009 on the French label Infrastition.

In 2011 Madlib sample Just because by Martin Dupont on For the nasty. In 2014, Tricky sample again Just because in his new album Adrian Thaws on the track something in the way; Martin Dupont not having been credited, the sample was removed from the digital versions. The same year, Theophilus London covers Martin Dupont's take a look on his new album vibes produced by Kanye West.

In 2017, Martin Dupont was covered by two famous German DJs, Mick Wills (the lights) and Marcel Dettmann (Selectors 003) then was the subject of a tribute (Broken memory) by the Boredom label with 19 covers by international groups.

In February 2018, DyE (Tigersushi) covers "inside out" on the album "inside out" in homage to Martin Dupont.


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Re: France - One song per day.

Post by Romain » Tue Jun 25, 2019 11:48 am

Next song.

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Re: France - One song per day.

Post by Romain » Tue Jun 25, 2019 12:05 pm

Brigitte Fontaine - Il pleut - 1968
Chanson, Chamber Jazz, Avant-Folk, French Pop, Art Pop, Avant-Garde Jazz

Album: Brigitte Fontaine est... ? (RYM: 3.61/5)

Artist Biography by Richie Unterberger (Allmusic)

French singer Brigitte Fontaine made a series of increasingly strange and eclectic art-pop in the 1970s that gathered a lot of acclaim in France, although she remains obscure to an international audience.
Initially she was an eccentric but accessible pop singer, presenting melodic and orchestrated material a la a more daring version of late-'60s/early-'70s Francoise Hardy.
On her first album, she worked with arranger Jean Claude Vannier, who had also done arrangements for Serge Gainsbourg. On subsequent records she got jazzier, and then into more difficult directions of avant-gardism and art song. Her albums were commendably wide-ranging, and undeniably erratic. She could employ African tribal rhythms, discordant progressive jazz, pretty folky melodies, throat-stretching a cappella vocals, spoken poetry, and pious classical arrangements, sometimes with a stoned recklessness.
On some albums she collaborated with the less impressive male writer and singer Areski, whose rough vocals contrasted incongruously with Fontaine's sweet and mature tone. Fontaine returned to recording in the 1990s, around the time her vintage work slowly began to accumulate a cult following among English-speaking listeners.

AllMusic Review by Richie Unterberger
Brigitte Fontaine's first album, arranged by Jean Claude Vannier (who had also done arrangements for Serge Gainsbourg), is her most normal and accessible record. It's still not terribly normal by pop standards, its arty songs dressed up with period Continental orchestration and quirky melodies and vocal deliveries. These can both hark back to Edith Piaf-styled material, or look forward to slight avant-garde/experimentalism. At times it sounds like the kind of thing Francoise Hardy might have done had she continued to develop along adventurous lines and keep pace with progressive pop and rock trends in the late '60s. In fact, songs like "Une Fois Mais Pas Deux" sound rather close to Hardy's best late-'60s material, but Hardy would have never done anything as goofy as "L'Homme Objet," with its music-box backing, or as odd as "Eternelle," with its tribal male backup vocals and rhythms, and "Blanche Neige," with its overdubbed tropical bird effects.
Il pleut
C'est tout ce qu'il sait faire

Je bouge
C'est tout c'que je sais faire

La nuit descend
C'est tout ce qu'elle sait faire

Le vent souffle
C'est tout ce qu'il sait faire

Il neige
C'est tout ce qu'il sait faire

J'ai peur
C'est tout c'que je sais faire

Les enfants naissent
C'est tout c'qu'ils savent faire

La terre tourne
C'est tout ce qu'elle sait faire

Il gèle
C'est tout ce qu'il sait faire

Je pleure
C'est tout c'que je sais faire

La guerre éclate
C'est tout ce qu'ell'sait faire

La bombe Hache
C'est tout ce qu'elle sait faire

Il tonne
C'est tout ce qu'il sait faire

Je crie
C'est tout c'que je sais faire

Les morts sont froids
C'est tout c'qu'ils savent faire

C'est dommage
C'est tout c'que ça peut faire

It's raining
That's all that it can do

I keep moving
That's all I know how to do

Night falls
That's all that it can do

The wind is blowing
That's all that it can do

It's snowing
That's all that it can do

I feel afraid
That's all I know how to do

Children are born
That's all that they can do

The earth turns
That's all that it can do

It freezes
That's all that it can do

I'm crying
That's all I know how to do

War breaks out
That's all that it can do

The bomb explodes (1)
That's all that it can do

It's thundering
That's all that it can do

I scream
That's all I know how to do

The dead are cold
That's all they know how to do

It's a pity
That's all that we can do

It's an almost impossible translation so many puns with the French language, the literal translation does not pay tribute to the song.
(1) Bombe H is the name of the thermonuclear bomb in France. A pun with H and hache.
Thanks to marcos sullivan on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Wed Jun 26, 2019 12:08 pm

Next song.

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Re: France - One song per day.

Post by Romain » Wed Jun 26, 2019 12:16 pm

Sébastien Tellier - Roche - 2008
Synthpop, Chamber Pop, Electropop, Downtempop, Art Pop

Album: Sexuality (RYM: 3.14/5)

Wikipédia:
Sébastien Tellier (French: [tɛlje]; born 22 February 1975)[1] is a French Musician, singer, songwriter and multi-instrumentalist. He is currently signed to Record Makers, a French independent record label. He sings in English, French and Italian.

Tellier's first album, L'incroyable Vérité (The Incredible Truth), was released in 2001. Tellier went on tour with Air in support of the album and was joined on stage by theremin player Pamelia Kurstin. L'incroyable Vérité is a pop album featuring styles from lo-fi electronica to bizarre cabaret tunes.[citation needed] Its sleeve featured Tellier in full evening dress on the front, while the back of jacket had a shot of him cavorting in a playboy's pool. He instructed listeners only to listen to the album by candlelight.

Tellier followed L'incroyable Vérité with his second studio album Politics (2005). A particularly popular song from Politics was "La Ritournelle", a string-led tune, which featured Nigerian drummer, Tony Allen who worked with Fela Kuti. "La Ritournelle" was remixed by various artists, notably in Britain by Metronomy.

Since the release of Politics, Tellier has also recorded an acoustic album of his more popular songs, Sessions (2006). The album was repackaged for the British market as Universe (2006), to include both highlights from the French CD, as well as compositions from Tellier's score for the film Narco. This compilation included a cover of La Dolce Vita, a song originally by French singer Christophe.

His third studio album Sexuality was produced by Guy-Manuel de Homem-Christo of Daft Punk. Like his previous album Politics, Tellier used a single term as title and theme of the album. Tellier's label Record Makers collaborated with retailer American Apparel for an exclusive three month pre-release of the album, whilst American Apparel sold limited edition versions of the Sexuality CD, LP and "Divine" 7" and 12" single through their North American stores and website.

On 7 March 2008, it was announced by Bruno Berberes, head of EBU delegation in France, that Tellier would represent France in the Eurovision Song Contest 2008. It was held in Belgrade on 24 May 2008. Tellier sang "Divine". This was the first time in the history of the contest that the nominated French entry was to be performed largely in English, which caused controversy, leading to Tellier pledging to increase the amount of French in the song prior to the competition itself. In total, the entry received 47 points.

The album Confection was released in October 2013. This was partially inspired by the death of Tellier's grandmother. Some of the music on the album was intended to appear on a film soundtrack, but ended up not being used. In an interview with artistxite, Tellier noted: "You can say my grandmother's death as well as this nonexisting soundtrack had an impact on “Confection“. To me this has been a super strange situation. I was full of love for my grandmother and full of dedication to this soundtrack; "Confection" is the result of both of these emotional conditions." In Spring 2014, Tellier performed a medley of tracks from Confection at the Chanel Haute Couture show at the Grand Palais. Tellier recounts that Karl Lagerfeld invited him to perform, having listened to the album himself.

The album L'Aventura, was released on 14 July 2014. The album was inspired by Brazil, where the video to its lead single, L'Adulte, is set.

Use of Tellier's songs
The track "Fantino" from L'incroyable Vérité was chosen by Sofia Coppola for the soundtrack to her 2003 film Lost in Translation. Coppola also used the song "Look" from his Sexuality album in her 2010 film Somewhere
The songs "Look" and "La Ritournelle" were featured in Ugly Betty's episodes "Crush'd" and "Dressed for success", respectively.
"La Ritournelle" also featured in Joachim Trier's Oslo, August 31st movie soundtrack.
The song "Universe" from the album L'incroyable Vérité is featured in the film Daft Punk's Electroma.
"Divine" (as remixed by Danger) was used in the 2009 racing game Gran Turismo for the PSP.
"La Ritournelle" is sampled in The Weeknd's single, "Kiss Land"
"La Ritournelle" is the first of many final soundtracks used in the movie "One Way" - 2006.
"Slow Lynch" was used by Top Gear in Seasons 13 Episode 3 (Ken Block’s Airfield Rally Run).

Album:
Sexuality is the third studio album by French singer Sébastien Tellier, released on 25 February 2008 by Record Makers and Lucky Number Music. The album was produced by Guy-Manuel de Homem-Christo, who is best known as one of the members of Daft Punk.

Sexuality is the first studio album by Tellier produced by someone other than himself. When de Homem-Christo was asked to produce the album, he was flattered and immediately agreed to do it. He expressed that Tellier "is maybe the best singer and composer in France today" and felt that the album was one of the few collaborative efforts in which he could contribute significantly and uniquely. "If you feel it and if you feel something creatively interesting then it’s possible." Their previous professional meeting was during the production period of the film Daft Punk's Electroma, in which Daft Punk requested the use of Tellier's song "Universe".

The first "taster" from the album was "Sexual Sportswear", which was revealed on Tellier's Myspace page. He described the instrumental track as "a direct combination of what I was doing before and what Guy-Man can do." When questioned on the two seemingly strangely juxtaposed words in the title, Tellier replied: "In my own sexual fantasies I always think about women in sportswear. I like women in sports pants and prefer peeling them off women to lifting up their skirts."

Regarding the style of the album, Tellier stated, "It is not at all like what I have released before and nothing like what Guy-Man did with Daft Punk." He also elaborated that, "It's very electronic and like intellectual R&B, although not in the same way that Beyoncé or Justin Timberlake are R&B." Tellier also stated "I wanted to make music that would sexually excite people in an Italian or Latin sense of sexual music; the big seducer with the broken heart... I tried to keep vulgarity away from sex and my music." The song "Divine" from the album represented France at the Eurovision Song Contest 2008.

Je rêve de Biarritz en été
Pourtant le soleil brille sur ma peau
Je rêve de Biarritz en été

Je vois des filles qui changent de couleur de peau
Je vois le ciel bleu t'épouser
Et moi d'un seul coup t'aimer
Je rêve de toi et moi les mains dans la main
Amoureuse de Sébastien

Le soleil brille et brûle mon nom sur ta peau
Amoureuse du vent chaud
Je sens la chaleur de l'été

Say aaaah
Say aaaah

Je rêve de Biarritz en été
Pourtant le soleil brille sur ma peau
Je rêve de Biarritz en été

Je vois des filles qui changent de couleur de peau
Je vois le ciel bleu t'épouser
Et moi d'un seul coup t'aimer
Je rêve de toi et moi les mains dans la main
Amoureuse de Sébastien

Le soleil brille et brûle mon nom sur ta peau
Amoureuse du vent chaud
Je sens la chaleur de l'été

Say aaaah
Say aaaah

Je sens la chaleur de l'été
Say aaaah
Say aaaah

I dream of Biarritz* in the summer
Yet the sun is shining on my skin
I dream of Biarritz in the summer

I see girls changing skin color
I see the blue sky marry you
And all at once I love you
I dream of you and I, hand in hand
In love with Sébastien

The sun shines and burns my name onto your skin
In love with the hot wind
I feel the heat of summer

Say aaaah
Say aaaah

I dream of Biarritz in the summer
Yet the sun is shining on my skin
I dream of Biarritz in the summer

I see girls changing skin color
I see the blue sky marrying you
And all at once I love you
I dream of you and I, hand in hand
In love with Sébastien

The sun shines and burns my name onto your skin
In love with the hot wind
I feel the heat of summer

Say aaaah
Say aaaah

I feel the heat of summer
Say aaaah
Say aaaah

Thanks to Sannah on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Thu Jun 27, 2019 7:07 am

Next song.

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Re: France - One song per day.

Post by Romain » Thu Jun 27, 2019 7:15 am

Le Villejuif Underground - I'm Sorry JC - 2019
Neo-Psychedelia

Album: « When Will the Flies in Deauville Drop? »

Bandcamp
A bass player looking like the main character of a surf movie shot in Chernobyl. A guitar player who’ll take french rap or thaï music over the Stooges, anytime. A keyboard player invited at reharsal by mistake who got the job cause he felt asleep on his synth. An australian poet-singer lost in France with no papers, sleeping in a cabin in the backyard of the Villejuif house where the whole band lives, sets up shows and records the most vital, exciting and enthralling records heard in France for a long, long time.

PRs & managers would kill for such a story - this one is 100 % accurate and happened just like any great story : by chance. Just like the music of the Villejuif Underground, the result of happy accidents and unholy alliances, something that was never meant to be but became an astonishing fandango of sorts. Think Fat White Family covering Oingo Boingo with Beat Happening’s gear. Think Beck’s One Foot In The Grave remixed by Daniel Johnston and Brian Wilson. Think Ausmuteants, the Spits, the Feeling Of Love or A Frames when they really nailed it. Actually, you shouldn’t think about any of this cause whatever you do, you’ll still be far from reality. Way too far.

Especially now with the release of When Will The Flies In Deauville Drop?, their second album and the first one on Born Bad Records. 11 tracks in a bit less than 40 minutes. 11 clumsy love letters to heavy backpacks, haunted castles, sleepy parisian districts and tours in China - which happened by total chance, thanks to some girl found asleep on their couch on new years eve. 11 reasons to think there’s a way out of 2019 - already. Your stormy love story with the Villejuif Underground starts here. Be sure to enjoy it. To the max.

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Re: France - One song per day.

Post by Romain » Sat Jun 29, 2019 7:46 am

Nxt song.

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Re: France - One song per day.

Post by Romain » Sat Jun 29, 2019 8:15 am

Raymond Ventura - Tout va très bien madame la marquise - 1935
Words and music: Paul Misraki

Singer:
Raymond Ventura (16 April 1908, Paris, France – 29 March 1979, Palma de Mallorca, Spain) was a French jazz pianist and bandleader. He helped popularize jazz in France in the 1930s. His nephew was singer Sacha Distel.

In 1925 he was the pianist for the Collegiate Five, which recorded as the Collegians for Columbia beginning in 1928 and for Decca in the 1930s. A year later he led the band, and it became a dance orchestra resembling a big band. His sidemen included Alix Combelle, Philippe Brun, and Guy Paquinet. In the early 1940s he led a big band in South America and in France during the rest of the decade.


Song:
Tout va très bien madame la marquise is a 1935 song, words and music by Paul Misraki, published by Éditions Ray Ventura; it is one of the great hits of Ray Ventura's orchestra and its Collegians with "Qu'est-ce qu'on attend pour être heureux?" and "Ça vaut mieux que d'attraper la scarlatine". Everything is going very well, Madame la Marquise has become a proverbial expression for an attitude of blindness in the face of a desperate situation.

The (modern) origin of the chorus is attributed to Bach and Laverne, authors of a sketch with the same title.

According to Paul Misraki himself, its creation was the result of the failure of a first evening of touring by Ray Ventura and his Collegiens, in Nîmes, in the south of France. The atmosphere was gloomy, and the orchestra could not warm up the room. The devastated musicians were all looking for an idea to revive the show. It was Coco Aslan who seemed to have suggested the idea of the "sketch with the Scottish Lady". Paul Misraki then set to work, quickly found the "start" (the first notes), then composed all night long, with a camembert as his companion, which he ate in its entirety. In the early morning, the composer agreed on one last fantasy: the "bridge" that begins with "an incident, a stupidity... ", a complete break with the rhythm and atmosphere of the song until then. And in the evening, it was a triumph.

Originally sung in three voices, the song tells of a telephone conversation between an old aristocrat and her valet James who told her about the disasters that had occurred in her castle during her two-week absence (anterchronologically, from the death of her mare to her husband's suicide, each of these disasters being the direct consequence of the previous one, even more serious).

Like Renoir's film La Règle du jeu, Tout va très bien madame la marquise has become a historical shortcut for depicting the immediate pre-war period (1935-1939) in France and perhaps more particularly the Munich Agreement (September 1938). From the year following its registration (22 May 19355), the formula was already popular with journalists. The expression "Tout va très bien Monsieur Herriot" was used during the strikes of June 1936. Then it will be "Everything is fine, Mr. Mussolini. "And finally, everything is going very well, my Führer, on Radio-London.

The song was adapted into Russian in 1935 by Alexandre Bezymenski, and performed in Russian by Léonid Outiossov, in duet with his daughter Edith; in Hebrew, by Dan Almagor; in German (Heinrich Pfandl, 20109), and in Italian.

Paul Misraki will continue to struggle with this dazzling success all his life (he was 28 years old, and the song was written overnight), many of his writings mentioning this song as an "incident", precisely.
Better sound:
https://www.youtube.com/watch?v=WqKMZvJ_d9Q
In russian:
https://www.youtube.com/watch?v=ufgcigxJoCc

Allô, allô James !
Quelles nouvelles ?
Absente depuis quinze jours,
Au bout du fil
Je vous appelle :
Que trouverai-je à mon retour ?

Tout va très bien, Madame la Marquise,
Tout va très bien, tout va très bien.
Pourtant il faut, il faut que l'on vous dise,
On déplore un tout petit rien :
Un incident, une bêtise,
La mort de votre jument grise,
Mais à part ça, Madame la Marquise
Tout va très bien, tout va très bien.

Allô, allô Martin !
Quelles nouvelles ?
Ma jument grise morte aujourd'hui !
Expliquez-moi
Cocher fidèle,
Comment cela s'est-il produit ?

Cela n'est rien, Madame la Marquise,
Cela n'est rien, tout va très bien.
Pourtant il faut, il faut que l'on vous dise,
On déplore un tout petit rien :
Elle a péri
Dans l'incendie
Qui détruisit vos écuries.
Mais à part ça, Madame la Marquise
Tout va très bien, tout va très bien.

Allô, allô Pascal !
Quelles nouvelles ?
Mes écuries ont donc brûlé ?
Expliquez-moi
Mon chef-modèle,
Comment cela s'est-il passé ?

Cela n'est rien, Madame la Marquise,
Cela n'est rien, tout va très bien.
Pourtant il faut, il faut que l'on vous dise,
On déplore un tout petit rien :
Si l'écurie brûla, Madame,
C'est qu'le château était en flammes.
Mais à part ça, Madame la Marquise
Tout va très bien, tout va très bien.

Allô, allô Lucas !
Quelles nouvelles ?
Notre château est donc détruit !
Expliquez-moi
Car je chancelle
Comment cela s'est-il produit ?

Eh bien voilà, Madame la Marquise,
Apprenant qu'il était ruiné,
À peine fut-il revenu de sa surprise
Que Monsieur l'Marquis s'est suicidé,
Et c'est en ramassant la pelle
Qu'il renversa toutes les chandelles,
Mettant le feu à tout l'château
Qui s'consuma de bas en haut ;
Le vent soufflant sur l'incendie,
Le propagea sur l'écurie,
Et c'est ainsi qu'en un moment
On vit périr votre jument !
Mais, à part ça, Madame la Marquise,
Tout va très bien, tout va très bien.

Hello, hello James !
What's been going on?
Gone since 15 days,
on the end of the line
I'm calling you :
What will I found when i'll be back ?

Everything is really ok, Madam the marquise
Everything is really ok, everything is really ok
But we must, we must tell you
We deplore a really little thing, one stupidity,
the death of your grey mare horse,
But otherwise, Madam the marquise
Everything is really ok, everything is really ok.

Hello, hello Martin !
What's been going on?
My grey mare horse, dead, today !
Explain to me
Faithfull coachman,
How did it happen ?

This is nothing, Madam the marquise,
This is nothing, everything is really ok.
But we must, we must tell you,
We deplore a really little thing,
It died
In the fire
That destructed your stables.
But otherwise, Madam the marquise
Everything is really ok, everything is really ok.

Hello, hello Pascal !
What's been going on?
So my stables burned ?
Explain to me
My perfect cook,
How did it happen ?

This is nothing, Madam the marquise,
This is nothing, everything is really ok.
But we must, we must tell you,
We deplore a really little thing,
If the stables burned
It's because the castle was burning.
But otherwise, Madam the marquise
Everything is really ok, everything is really ok.

Hello, hello Lucas !
What's been going on?
So the castle is destructed ?
Explain to me
'Cause I staggered,
How did it happen ?

So, Madam the Marquise,
Learning he was ruined,
Just recovering from the surprise
the Marquis committed suicide
And coming a cropper
He toppled the candles,
putting fire to all the castle,
Which burned from the bottom up
Wind blowing on the fire
throwed it on the stables
And it's how
In one minute
We saw your grey mare horse dying !
But otherwise, Madam the marquise
Everything is really ok, everything is really ok.

Thanks to rosalie.gerard on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Sun Jun 30, 2019 3:03 pm

Next song.

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Re: France - One song per day.

Post by Romain » Sun Jun 30, 2019 3:13 pm

Ettika - Ettika - 1986

surunsonrap.hypotheses.org
This group, about which the magazine Actuel speaks in 1987, made little mention in the years that followed. In search of his story or his recordings, I only found a passage from a book by the journalist Paul Moreira, published that same year 1987: Rock métis in France. We learn that the Ettika group was formed in Rouen around 1984. The book features three young singers, "Affila, Djamila and Samira", and a musician who works in a professional training institute linked to the Chamber of Commerce. This last detail is important, since it is as a trainer that the musician first meets the three unemployed friends and suggests that they record a record. In May 1986, a self-produced single was released, soon to be broadcast on Radio Nova and distributed by Celluloïd, a label close to Actuel.

Apart from these few elements, there is no sound trace of the famous 45 rpm, nor of its performers. If any of the people who participated in this adventure read these lines... I would be happy to learn more about Ettika's story!



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Re: France - One song per day.

Post by Romain » Mon Jul 01, 2019 10:47 am

Next song.

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Re: France - One song per day.

Post by Romain » Mon Jul 01, 2019 10:58 am

Jean-Michel Jarre - Equinoxe 5 - 1978 - Electronique
Progressive Electronic, Electronic, Synthpop, Ambient, Trance, Film Soundtrack


Album: Equinoxe (RYM: 3.73/5)

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

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

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

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

The decade to follow proved surprisingly quiet, however, and apart from the occasional live appearance, Jarre largely removed himself from the limelight; finally, in 1997 he issued Oxygène 7-13, updating his concepts for a new musical era. At the turn of the millennium, he recorded Metamorphoses and then took a break from the studio as a flurry of reissues and remixes followed, including Sessions 2000, Les Granges Brulees, and Odyssey Through O2. In 2007, after a seven-year hiatus from recording, Jarre released a new dance single, "Teo and Tea," a surprisingly strong return to electro, and followed it with a trancey, angular album also titled Teo and Tea. The collection Essentials & Rarities appeared in 2011, a year that also saw him perform a three-hour, internationally broadcast concert in Monaco honoring the marriage of Prince Albert and Charlene Wittstock. He released the albums Electronica, Vol. 1: The Time Machine and Electronica, Vol. 2: The Heart of Noise in 2015 and 2016, respectively, both of which featured numerous well-known guest musicians including John Carpenter, Vince Clarke, Cyndi Lauper, Pete Townshend, Armin van Buuren, and Hans Zimmer. Also in 2016, Jarre revisited his signature work yet again, with the release of Oxygène 3. All three Oxygène albums were also issued as Oxygène Trilogy. 2018 saw the release of Planet Jarre, a compilation album commemorating 50 years of material which also featured two new tracks -- "Herbalizer" and "Coachella Opening" -- the latter of which was featured during Jarre's set list at California's Coachella Festival a few months earlier. In November of that year, he release his 20th studio album, Equinoxe Infinity, which acted as a sequel to his 1978 album Equinoxe
The 1986 live in Lyon ( the biggest concert I've ever seen).

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Re: France - One song per day.

Post by Romain » Tue Jul 02, 2019 3:17 pm

Next song.

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Re: France - One song per day.

Post by Romain » Tue Jul 02, 2019 3:26 pm

Yvonne George - J'ai pas su y faire ! - 1925
Belgian, chanson réaliste.

Wikipédia:
Yvonne de Knops (1896 in Brussels – 1930 in Genoa), better known by her stage name Yvonne George, was a Belgian singer and feminist actress.

George started her artistic career on the stage, where she befriended Jean Cocteau, but gravitated especially toward a repertoire of old songs with realist themes.

Paul Franck, director of the Paris Olympia, discovered George in the 1920s in a Brussels cabaret. George debuted at the Olympia in 1922, singer her famous Nous irons à Valparaiso (We will go to Valparaiso) and Good bye Farewell. A certain high-minded section of the public did not appreciate the refrain of this song; George already achieved a polemical success, criticised by this section of the public which would be hostile to her intellectualism and emancipation throughout her career.

Yvonne George moved into a ground-floor apartment in Neuilly with desirable decor, where she received many artists and men of letters.

In 1924, well known in Parisian intellectual circles as a charming singer, George became the subject of a passionate love affair with the French poet Robert Desnos, who wrote her numerous poems including the famous J'ai tant rêvé de toi (I have dreamed so much about you). Desnos initiated her into taking opium. It was in this period that Desnos also wrote his novel La Liberté ou l'Amour (Freedom or Love), a work which would be condemned for obscenity by the tribunal de la Seine.

George's performance style is considered as embodying the principles of the French realist song. She left a very small posterity to the public at large. Her musical repertoire contained some 200 songs, but she recorded very few. 21 recordings were made, of which only 16 survive, some of which are repeats of each other. The themes of the songs, however, and her manner of interpretation with a troubled, broken voice, were to influence other singing and speaking performers such as the French singer Barbara. Yvonne George participated in the progress of female emancipation in the inter-war period.

Weakened by the excesses of her lifestyle and especially her drug habits, George fell ill with tuberculosis. Following ineffective treatments, she died in a hotel room near the port of Genoa on 22 April 1930, aged 33.

The poem of Desnos:
. . J'ai tant rêvé de toi que tu perds la réalité.

. . Est-il encore temps d'atteindre ce corps vivant et de baiser sur cette bouche la naissance de la voix qui m'est chère ?

. . J'ai tant rêvé de toi que mes bras habitués, en étreignant ton ombre, à se croiser sur ma poitrine ne se plieraient pas au contour de ton corps, peut-être.

. . Et que, devant l'apparence réelle de ce qui me hante et me gouverne depuis des jours et des années, je deviendrais une ombre sans doute.

. . Ô balances sentimentales.

. . J'ai tant rêvé de toi qu'il n'est plus temps sans doute que je m'éveille. Je dors debout, le corps exposé à toutes les apparences de la vie et de l'amour de toi, la seule qui compte aujourd'hui pour moi, je pourrais moins toucher ton front et tes lèvres que les premières lèvres et le premier front venus.

. . J'ai tant rêvé de toi, tant marché, parlé, couché avec ton fantôme qu'il ne me reste plus peut-être, et pourtant, qu'à être fantôme parmi les fantômes et plus ombre cent fois que l'ombre qui se promène et se promènera allègrement sur le cadran solaire de ta vie.

***
. . I have dreamed of you so much that you are no longer real.

. .Is there still time for me to reach your breathing body, to kiss your mouth and make your dear voice come alive again?

. . I have dreamed of you so much that my arms, grown used to being crossed on my chest as I hugged your shadow, would perhaps not bend to the shape of your body.

. . For faced with the real form of what has haunted me and governed me for so many days and years, I would surely become a shadow.

. . O scales of feeling.

. .I have dreamed of you so much that surely there is no more time for me to wake up. I sleep on my feet prey to all the forms of life and love, and you, the only one who
counts for me today, I can no more touch your face and lips than touch the lips and face of some passerby.

. .I have dreamed of you so much, have walked so much, talked so much, slept so much with your phantom, that perhaps the only thing left for me is to become a phantom
among phantoms, a shadow a hundred times more shadow than the shadow the
moves and goes on moving, brightly, over the sundial of your life.

***
https://lyricstranslate.com

Version by Juliette:
https://www.youtube.com/watch?v=u9_cft81-Rs

J'ai pas su y faire
J'ai pas la manière
J'ai jamais eu d' veine
J' me traîne
Et j' sens bien qu' ça n'ira jamais
J' connais qu' la misère
J' suis seule sur la Terre
J' l'ai pas fait exprès
Non, mais...
J'ai pas su y faire

Quand j'avais quinze ans
J'en voyais tout l' temps
Autour de moi qui étaient heureuses
Avec leur amant
Elles me narguaient souvent

Et pourtant j'étais pas envieuse
On n' m'a jamais dit de mots tendres
Aucun homme n'a voulu m' comprendre
Et quand j' vois passer
Les couples enlacés
J' me contente de leur chanter [var : J' peux pas m'empêcher d' penser]

J'ai pas su y faire
J'ai pas la manière
J'ai jamais eu d' veine
J' me traîne
Et j' sens bien qu' ça n'ira jamais
J' connais qu' la misère
J' suis seule sur la Terre
J' l'ai pas fait exprès
Non, mais...
J'ai pas su y faire


Plus tard j'ai connu
Des tas de parvenus
Qui jetaient au vent leur fortune
Moi, j'avais pas l' sou
On me chassait d' partout
Et mon cœur était plein de rancune
Car ces gens-là, ça vous méprise
Et ça s' fiche des femmes dans la mouise
Mais j'ai ma fierté
Quand j' les vois nocer
J' me contente de leur chanter

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Re: France - One song per day.

Post by Romain » Wed Jul 03, 2019 12:58 pm

Next song.

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Re: France - One song per day.

Post by Romain » Wed Jul 03, 2019 1:13 pm

Simone Sandry - Les belles amourettes - 1959
Chanson.
Music: Alain Goraguer
Words;: François 1er, king of France (1494-1547)

Album: Chansons d'amour des rois de France (Love songs of the French Kings).

Simone Sandry biography:
I found nothing about her.

Goraguer Biography: (wikipédia (DeepL translate))

Alain Yves Réginald Goraguer, known as Alain Goraguer, is a French composer and arranger, born on August 20, 1931 in Rosny-sous-Bois (Seine-Saint-Denis).

He has signed part of his work under the pseudonyms of Paul Vernon and Milton Lewis.

A jazz pianist, he is known for his talents as a musical arranger. He has also composed many film scores. His name is associated with the great names of French song, including Serge Reggiani, Boris Vian, Boby Lapointe, Jean Ferrat and Serge Gainsbourg.

His family settled on the Mediterranean coast in Nice, where the young Alain Goraguer studied piano. He gives up the violin without remorse, passes shortly after his baccalaureate and makes a decisive encounter at the age of twenty: that of pianist Jack Diéval, who is passing through Nice, who strongly advises him to give up everything for the piano. At the same time, he studied harmony with Julien Falk, soon placing second in an amateur jazz tournament.

He then returned to Paris where he completed his playing and became passionate about jazz. In Saint-Germain-des-Prés, where he accompanied the singer Simone Alma, he met Boris Vian. They write together Je bois, La Java des bombes atomiques, Fais-moi mal Johnny (created by Magali Noël) and Ne vous mariez pas les filles. Goraguer wrote the music for the film J'irai cracher sur vos tombes (1959) and still collaborated with Boris Vian on the recording of a certain Henry Cording, who was none other than Henri Salvador, and who then made his first parodies.

For nearly ten years, he was the main arranger of Boby Lapointe's songs, including some of his greatest hits, from Aragon and Castile (1960) to La Maman des poissons (1969).

He also produced the orchestrations for a young artist, Serge Gainsbourg, whose albums he arranged until Gainsbourg Percussions (1964). With Gainsbourg, Goraguer wrote several film scores, including L'Eau à la bouche (1960).

With the advent of the yéyés, the very young generation of performers gave rise to a new style of musical accompaniment. Denis Bourgeois, Serge Gainsbourg's first producer at Philips, became that of the young France Gall, which began in 1963, and he asked Alain Goraguer to make the arrangements of his songs, which he would do (as well as several compositions) until 1968. Some of her orchestrations for the "Lolita de la chanson" have become pop classics: Christiansen, Laisse tomber les filles, Baby Pop, Les Sucettes, Dady da da da. The highly acclaimed and award-winning Wax Doll with Sound Doll (Grand Prize at the 1965 Eurovision Song Contest) earned Goraguer the title of "arranger" par excellence and paved the way for a renewal of orchestrations.

Until the 1970s, he was the orchestrator of the songs of many performers including Adamo, Brigitte Bardot (Bubble gum, 1965), Brigitte Fontaine (La Vache enragée, 1965), Juliette Gréco (Un petit poisson, un petit oiseau, 1966, Les Pingouins, 1970), Mélina Mercouri (Les Enfants du Piraée, I am Greek, Zorba, 1972), Joe Dassin (The First Woman of my Life, I Lost, Little Ball - 1978 Album The Women of my Life), Nana Mouskouri (Schubert's Serenade, 1979), Georges Moustaki (Le Métèque, 1969), Régine (Les P'tits Papiers, 1965, La Grande Zoa, 1966), etc.

He reached the peak of his work as an arranger-orchestrator when Jean Ferrat asked him to musically dress his repertoire (Potemkin, La Montagne, Deux enfants au soleil, Raconte-moi la mer...). All the arrangements of Ferrat's work will be due to him. By ricochet, Ferrat being very close to Isabelle Aubret, Goraguer composed and arranged some of his most beautiful songs.

He composed many film scores such as those of René Laloux's La Planète Sauvage or Claude Bernard-Aubert's L'Affaire Dominici. He signed for the latter, this time under the pseudonym Paul Vernon, the soundtrack of many pornographic films. He is also the author of the famous credits of the television show Gym Tonic hosted by Véronique and Davina. He recorded a few records of "soft music" under the name of Laura Fontaine.

In 2005, Bruno Maman called on him for the arrangements and production of his homonymous album and, in 2008, for the arrangements of his album Faire l'amour.

Also in 2008, Abd al Malik asked him for the arrangements of his album Dante. He pays tribute to her by using live recording with "the idea of doing something live".

François 1er biography
Hmmm, too long :-)
https://en.wikipedia.org/wiki/Francis_I_of_France


Les belles amourettes

Où êtes-vous allées mes belles amourettes ?

Changerez-vous de lieu tous les jours ?

A qui dirai-je mon tourment,

Mon tourment et ma peine ?

Rien ne répond à ma voix,

Les arbres sont secrets, muets et sourds

Où êtes -vous allées, mes belles amourettes ?

Changerez-vous de lieu tous les jours ?

Ah ! puisque le ciel le veut ainsi

Que mon mal je regrette,

Je m’en irai dedans les bois

Conter mes amoureux discours,

Où êtes-vous allées , mes belles amourettes ?

Changerez-vous de lieu tous les jours ?

Where have you gone, my lovely affairs?

Will you change your location every day?

Who shall I tell about my torment,

My agony and my pain?

Nothing responds to my voice,

The trees are secetive, mute and deaf

Where have you gone, my lovely affairs?

Will you change your location every day?

Ah! Since heaven wants it so that

I will regret my wrong,

I will go off into the woods

To relate my loving speech,

Where have you gone, my lovely affairs?

Will you change your location every day?

Thanks to michealt on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Fri Jul 05, 2019 7:08 am

Next song.

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Re: France - One song per day.

Post by Romain » Fri Jul 05, 2019 7:15 am

Claude Debussy - Prélude à l'après-midi d'un faune - 1894 - Classical
Impressionism, Orchestral, Modern Classical, Opera, Chamber Music

Wikipédia:
(Achille) Claude Debussy (French: [aʃil klod dəbysi]; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries.

Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the age of ten to France's leading music college, the Conservatoire de Paris. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire's conservative professors. He took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, Pelléas et Mélisande.

Debussy's orchestral works include Prélude à l'après-midi d'un faune (1894), Nocturnes (1897–1899) and Images (1905–1912). His music was to a considerable extent a reaction against Wagner and the German musical tradition. He regarded the classical symphony as obsolete and sought an alternative in his "symphonic sketches", La mer (1903–1905). His piano works include two books of Préludes and two of Études. Throughout his career he wrote mélodies based on a wide variety of poetry, including his own. He was greatly influenced by the Symbolist poetic movement of the later 19th century. A small number of works, including the early La Damoiselle élue and the late Le Martyre de saint Sébastien have important parts for chorus. In his final years, he focused on chamber music, completing three of six planned sonatas for different combinations of instruments.

With early influences including Russian and far-eastern music, Debussy developed his own style of harmony and orchestral colouring, derided – and unsuccessfully resisted – by much of the musical establishment of the day. His works have strongly influenced a wide range of composers including Béla Bartók, Olivier Messiaen, George Benjamin, and the jazz pianist and composer Bill Evans. Debussy died from cancer at his home in Paris at the age of 55 after a composing career of a little more than 30 years.

A lot more:
https://en.wikipedia.org/wiki/Claude_Debussy
Wikipédia:
Prélude à l'après-midi d'un faune (L. 86), known in English as Prelude to the Afternoon of a Faun, is a symphonic poem for orchestra by Claude Debussy, approximately 10 minutes in duration. It was composed in the year 1894, the same year that the piece was first performed. It was first performed in Paris on 22 December 1894, conducted by Gustave Doret. The flute solo was played by Georges Barrère.

Debussy's work later provided the basis for the ballet Afternoon of a Faun choreographed by Vaslav Nijinsky and a later version by Jerome Robbins.

The composition was inspired by the poem L'après-midi d'un faune by Stéphane Mallarmé. It is one of Debussy's most famous works and is considered a turning point in the history of music. Pierre Boulez considered the score to be the beginning of modern music, observing that "the flute of the faun brought new breath to the art of music."

About his composition Debussy wrote:

The music of this prelude is a very free illustration of Mallarmé's beautiful poem. By no means does it claim to be a synthesis of it. Rather there is a succession of scenes through which pass the desires and dreams of the faun in the heat of the afternoon. Then, tired of pursuing the timorous flight of nymphs and naiads, he succumbs to intoxicating sleep, in which he can finally realize his dreams of possession in universal Nature.

Paul Valéry reported that Mallarmé himself was unhappy with his poem being used as the basis for music:

He believed that his own music was sufficient, and that even with the best intentions in the world, it was a veritable crime as far as poetry was concerned to juxtapose poetry and music, even if it were the finest music there is.

However, after attending the premiere performance at Debussy's invitation, Mallarmé wrote to Debussy: "I have just come out of the concert, deeply moved. The marvel! Your illustration of the Afternoon of a Faun, which presents a dissonance with my text only by going much further, really, into nostalgia and into light, with finesse, with sensuality, with richness. I press your hand admiringly, Debussy. Yours, Mallarmé."


Composition:
The work is scored for three flutes, two oboes, cor anglais, two clarinets in A and B♭, two bassoons, four horns, two harps, two crotales and strings. In standard notation: 3 3[1.2.Eh] 2 2 – 4 0 0 0 – 1perc[crot] – 2hp – str (10').

Although it is tempting to call this piece a tone poem, there is very little musical literalism in the piece; instead, the slow and mediated melody and layered orchestration as a whole evoke the eroticism of Mallarmé's poem.

[This prelude] was [Debussy's] musical response to the poem of Stephane Mallarmé (1842–1898), in which a faun playing his pan-pipes alone in the woods becomes aroused by passing nymphs and naiads, pursues them unsuccessfully, then wearily abandons himself to a sleep filled with visions. Though called a "prelude," the work is nevertheless complete – an evocation of the feelings of the poem as a whole.

Debussy had intended to compose a second and third movement, an Interlude and Paraphrase finale, respectively, but he decided to concentrate all of his musical ideas into one movement.

The Prélude at first listening seems improvisational and almost free-form; however, closer observation will demonstrate that the piece consists of a complex organization of musical cells, motifs carefully developed and traded between members of the orchestra. A close analysis of the piece reveals a high amount of consciousness of composition on Debussy's part.

The main musical themes are introduced by woodwinds, with delicate but harmonically advanced underpinnings of muted horns, strings and harp. Recurring tools in Debussy's compositional arsenal make appearances in this piece: extended whole-tone scale runs, harmonic fluidity without lengthy modulations between central keys, and tritones in both melody and harmony. The opening flute solo consists of a semitone descent to a tritone below the original pitch, and the subsequent ascent. The development of the slow main theme transitions smoothly between 9
8, 6
8, and 12
8 meters. Debussy enacts voicings and shading in his orchestration to a high degree, allowing the main melodic cell to move from solo flute to oboe, back to solo flute, then two unison flutes (yielding a completely different atmosphere to the melody), then clarinet, etc. Even the accompaniment explores alternate voicings: the flute duo's crescendo during their melodic cells accompany legato strings with violas carrying the soprano part over alto violins (the tone of a viola in its upper register being especially pronounced).

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Romain
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Re: France - One song per day.

Post by Romain » Sat Jul 06, 2019 8:06 am

Next song.

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Romain
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Re: France - One song per day.

Post by Romain » Sat Jul 06, 2019 8:30 am

Les Frangines - Si j'osais - 2019
Chanson

TV5monde: (DeepL translate)
"Les Frangines" is an acoustic guitar-voice duo.

Two long-time friends united by a musical sorority bond, around a subtle and literate pop-folk.

Nano and Jass have been forming the duo Les Frangines for more than four years. On acoustic guitar chords, their two voices harmonize with an obvious complementarity.

The vagabond moods of their compositions bring them closer to French-speaking variety groups such as Debout sur le Zinc or Les Cowboys Fringants. The delicacy of their pop/folk melodies shares accents with those of Cocoon or the Australian Angus & Julia Stone.

A particular sensitivity to the beauty and potential of the French language, strengthened during their literary studies, is expressed in the writing of their texts, weaving multiple consonances and poetic correspondences, and occasionally relying on great classics (Tomorrow at dawn, where they sing Victor Hugo's verses).

Inhabited by the themes of the road and exploration, their musical universe evokes vast natural landscapes, rural, mountainous or maritime, which can be found in the images of their clips.

If their songs invite you to a bucolic and bohemian escapade, they also know how to be in touch with great contemporary dramas. The tragic fate of Syria is the subject of their song Le Cri d'Alep.

Having learned to play the guitar and sing on their own, the two musicians are enjoying growing success, with their YouTub channel now recording more than a million views.


Ah si seulement j’avais pu te dire
Ce que j’avais sur le cœur
Pu tenir les propos qui résonnent à l’intérieur
Les mots qu’on chuchote sur le pas d’une porte

Ah si seulement je m’étais rappelée
Que la vie n’a pas de temps pour les regrets
Ah si j’avais l’audace des plus grands combattants

J’aurais conquis ton âme
Oh mon amant j’aurais
J’aurais fait tout cela
Et bien plus encore
Je t’aurais dit je t’aime
Jusqu’aux aurores

J’aurais brisé le verre de mon silence
Je l’aurais façonné dans un mur de faïence
Ça parait si facile posé sur ce papier
Ça parait si fragile

Ah si seulement j’avais pu te dire
Ce que j’avais sur le cœur
Pu tenir les propos qui résonnent à l’intérieur
Les mots qu’on chuchote sur le pas d’une porte

Depuis tu es parti
Et je suis restée là
Sur le pas de la porte
À attendre quoi
Les regrets les remords
Non ce n’est pas pour moi
On finira tous mort
Alors, alors

J’aurais conquis ton âme
Oh mon amant j’aurais
J’aurais fait tout cela
Et bien plus encore
Je t’aurais dit je t’aime jusqu’aux aurores
J’aurais brisé le verre de mon silence
Je l’aurais façonné dans un mur de faïence
Ça parait si facile posé sur ce papier
Ça parait si fragile
Si seulement j’osais te dire
Si seulement j’osais tenir
Les discours qui me hantent qui m’entaillent qui menacent
Mon pauvre amour, ma faible audace
Et si j’osais
Et si j’osais

J’aurais conquis ton âme
Oh mon amant j’aurais
J’aurais fait tout cela
Et bien plus encore
Je t’aurais dit je t’aime jusqu’aux aurores
J’aurais brisé le verre de mon silence
Je l’aurais façonné dans un mur de faïence
Ça parait si facile posé sur ce papier
Ça parait si fragile

J’aurais conquis ton âme
Oh mon amant j’aurais
J’aurais fait tout cela
Et bien plus encore
Je t’aurais dit je t’aime jusqu’aux aurores

And if only I could tell you
That I have a heart that
Could hold the words that resonates inside
The words that we whisper at the feet of a door

Ah if only I had called back
For life does not have time for regrets
Ah if I had (only) the greatest audacity to fight

I would have conquered your soul oh my lover I would have
I would do all this and more still
I would have told you “I love you” until the dawn
I would have broken the silence that hindered me
I would have shaped in a wall a faience
It seems so easy on this paper
It seems so fragile

Ah if only I could tell you
That I have a heart that
Could hold the words that resonates inside
The words that we whisper at the feet of the door

Since you are leaving and I am staying here
At the foot of the door waiting for nothing
The regrets, the remorse, no this is not for me
We will end everything at last, at last

I would have conquered your soul oh my lover I would have
I would have done all that and more still
I would have told you “I love you” until the dawn
I would have broken the silence that hindered me
I would have shaped in a wall a faience
It seems so easy on this paper
It seems so fragile

If only I dared to tell you
If only I dared to hold
The discourses that I hate
That entangled, that made me angry
My poor love, my feeble audacity
And if I dared
And if I dared

I would have conquered your soul oh my lover I would have
I would have done all that and more still
I would have told you “I love you” until the dawn
I would have broken the silence that hindered me
I would have shaped in a wall a faience
It seems so easy on this paper
It seems so fragile

I would have conquered your soul oh my lover I would have
I would have done all that and more still
I would have told you “I love you” until the dawn

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Romain
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Re: France - One song per day.

Post by Romain » Sun Jul 07, 2019 4:46 pm

Next song

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Re: France - One song per day.

Post by Romain » Sun Jul 07, 2019 5:04 pm

Michel Sardou - Les lacs du Connemara - 1981
Chanson, pop, electropop

Michel Charles Sardou (French pronunciation: [miʃɛl ʃaʁl saʁdu]; born 26 January 1947) is a French singer, songwriter and occasional actor.

Sardou is known not only for his love songs ("La maladie d'amour", "Je vais t'aimer"), but also for songs dealing with various social and political issues, such as the rights of women in Islamic countries ("Musulmanes"), clerical celibacy ("Le curé"), colonialism ("Le temps des colonies", "Ils ont le pétrole mais c'est tout") or the death penalty ("Je suis pour"). Another sometimes controversial theme found in some of his songs ("Les Ricains" and "Monsieur le Président de France" for example) is his respect and support for the culture and foreign policies of the United States of America. He has been accused of being a racist due to his 1976 song "Le temps des colonies", where he sang positively about colonialism and slavery, but Sardou has always claimed the song was sarcastic. His 1981 single "Les lacs du Connemara" was an international hit (especially in the Netherlands). A number of his hit songs were written in collaboration with Jacques Revaux and Pierre Delanoë, a few others (most notably "En chantant") with Italian singer Toto Cutugno.

Sardou sold out eighteen consecutive dates at Palais Omnisports de Paris-Bercy in 2001, while his 2004 album Du plaisir went straight to the number one spot on the French album charts. With a recording career of fifty years, Sardou has released 25 studio albums, 18 live albums and has recorded more than 350 songs (chiefly in French but also in Spanish, Italian and even English) and has sold more than 100 million records. Currently he is considered such as one of the most popular artists in the Francophone world and one of the most efficient, both in sales and in his shows.

More:
https://en.wikipedia.org/wiki/Michel_Sardou

Chanson:
Les Lacs du Connemara is a song by Michel Sardou created in 1981 on the album that would later be called Les Lacs du Connemara. The text is written by Pierre Delanoë and Michel Sardou, to music by Jacques Revaux.

The song was written and composed in Saint-Georges-Motel (Eure, France), on Michel Sardou's property. Having suffered from the heat after a long journey, Jacques Revaux's Sequential Prophet 10 synthesizer sounded like a bagpipe, which gave Michel Sardou the idea of writing a Scottish song. As neither he nor Pierre Delanoë knew Scotland, Delanoë went to get documentation but came back with a tourist brochure on Ireland and the Connemara lakes.

The text is finally inspired by John Ford's film The Quiet Man, evoking an Irish marriage and leaving the conflict between Protestants and Catholics as a backdrop.

It also discusses various elements of Irish culture, such as:

wild landscapes made up of moors, sometimes inhospitable;
a very cloudy and windy temperate climate, due to the proximity of the Atlantic Ocean;
the lakes (lough), numerous on the island and famous in Connemara;
city names: Limerick (where there is a granite church), Tipperary, Ballyconneely, Galway ;
surnames: Connor, Flaherty from the Ring of Kerry);
the Gaels, an ethnolinguistic group from Ireland and Scotland;
Oliver Cromwell, an English soldier and politician who conquered the island between 1649 and 1653, causing massacres and making this episode one of the darkest in the history of Ireland;
the ponies of Connemara;
religious conflicts between Catholics and Protestants;
the partition of the island into two separate entities: the Republic of Ireland and Northern Ireland;
the wars of independence waged against England, which have marked the island's history for centuries.
Judging the song too long (more than 6 minutes), Michel Sardou didn't want to release it. It was Jacques Revaux who convinced him to keep it.
Terre brûlée au vent,
des landes de pierres
autour des lacs,
c’est pour les vivants
un peu d’enfer, le Connemara.
Des nuages noirs qui viennent du nord
colorent la terre,
les lacs, les rivières,
c’est le décor du Connemara.

Au printemps suivant,
le ciel irlandais était en paix,
Maureen a plongé
nue dans un lac du Connemara.
Sean Kelly s’est dit :
« Je suis catholique,
Maureen aussi ! »
L’église en granit de Limerick,
Maureen a dit oui.
De Tipperary,
Bally-Connelly,
et de Galway,
ils sont arrivés
dans le comté du Connemara.
Y avait les Connor,
les O’Connelly,
les Flaherty
du Ring of Kerry
et de quoi boire
trois jours et deux nuits.

Là-bas au Connemara,
on sait tout le prix du silence.
Là-bas au Connemara,
on dit que la vie, c’est une folie
et que la folie ça se danse.

Terre brûlée au vent,
des landes de pierres
autour des lacs,
c’est pour les vivants
un peu d’enfer, le Connemara.
Des nuages noirs qui viennent du nord
colorent la terre,
les lacs, les rivières,
c’est le décor du Connemara.

On y vit encore
au temps de Gaëls et de Cromwell,
au rythme des pluies et du soleil,
au pas des chevaux.
On y croit encore
aux monstres des lacs
qu’on voit nager
certains soirs d’été
et replonger pour l'éternité.
On y voit encore
des hommes d’ailleurs
venus chercher
le repos de l’âme
et pour le cœur
un goût de meilleur.
L’on y croit encore
que le jour viendra,
il est tout près,
où les Irlandais
feront la paix
autour de la Croix.

Là-bas au Connemara,
on sait tout le prix de la guerre.
Là-bas au Connemara,
on n’accepte pas
la paix des Gallois
ni celle des rois d’Angleterre.

Scorched earth under the wind,
Moorlands with stones,
Around lakes,
It is for the living people
A bit of hell, Connemara.
Black clouds coming from the north
Color the earth,
Lakes, rivers,
It's the Connemara's scenery.

In the following spring,
The Irish sky was peaceful,
Maureen plunged
Naked in a Connemara's lake.
Sean Kelly said to himself:
" I am Catholic,
Maureen too! "
In the Limerick's granite church,
Maureen said yes.
From Tipperary,
Bally Connelly,
And from Galway,
They arrived
In Connemara's County.
There was The Connor's,
The O'Connelly's,
the Flaherty's families
From the Ring of Kerry
And something to drink
For three days and two nights.

There, in Connemara,
Everyone knows well the price of silence.
There, in Connemara,
It is said that life is madness
And madness is being danced.

Scorched earth under the wind,
Moorlands with stones,
Around lakes,
It is for the living people
A bit of hell, Connemara.
Black clouds coming from the north
Color the earth,
Lakes, rivers,
It's the Connemara's scenery.

People still live there
Like other ones lived at the time of Gaels and Cromwell,
With the rhythm of the sun and rain,
Following horses footstep.
We still believe in
Lakes monsters
That are seen swimming
During some summer evenings
And diving again forever.
There, we still see
Men from elsewhere
Who came, Looking for
The peace of the mind
And for the heart
A taste of something better.
There they still believe
That a day will come,
it's soon,
When the Irishmen
Will make peace
Around the Cross.

There, in Connemara,
Everyone knows the price for war.
There, in Connemara,
Noone accepts
The peace from Welshmen
Nor that from English kings.

Thanks to alain.chevalier on LyrcisTranslate.

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Romain
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Re: France - One song per day.

Post by Romain » Tue Jul 09, 2019 10:50 am

Next song.

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Re: France - One song per day.

Post by Romain » Tue Jul 09, 2019 10:57 am

Blackrain - Innocent Rosie - 2008
Glam Metal, Hard Rock

Album : License to Thrill (RYM: 3.08/5)

Wikipédia (DeepL translate)
Blackrain, also stylized BlackRain or Black Rain, is a French glam metal band from Annecy, Haute-Savoie.

The group was formed in 2001 in Haute-Savoie, by members from Annecy, Ayze and Marignier. Members Swan Hellion (guitar and vocals) and Max 2 (guitar) play covers of bands such as Motley Crue or W.A.S.S.P. They do a few concerts but do not find a stable bassist or drummer until 2004 and their meeting with Kenny "Big Balls" Snake who was just supposed to help them out during a concert but who keeps his place as a drummer in the group.

They met Matt a little later and hired him as a bass player. The group began to compose their own songs, and in 2003 released a five-track demo entitled Twilight, Rain and Darkness, limited to 500 copies.

The band signed to Thundering Records in 2006 and, thanks to one of their friends who owns several clubs in Tokyo, they set off on their first tour of about twenty dates in Japan. The group decided at that time to turn what was then only a hobby into a real career. In the future, they will mention the real birth of the band in August 2006, the year of this tour. When they return, Blackrain comes out. This homonymous album, more oriented towards heavy and power metal, will get them rather mixed opinions in the press but will allow the band to make itself better known.

The band quickly realizes that the audience follows thanks to their energy on stage but that they still lack really powerful compositions. The band then composed new songs in a more glam rock tone this time. They recorded License to Thrill in August 2007 at Polar Studios in Sweden. The album, which was released in November 2008, made the band famous all over Europe and got them very good reviews in the press (Rock One, Rock Hard). They are now considered as the next generation of glam, and are becoming true leaders of the French style. At the end of 2007, Kenny left the group not wishing to live a life on the road. Blackrain integrates Iann Lewis to replace him. The band tours a lot in Europe and particularly in Sweden, Italy, Germany, and the Netherlands where they tour with Sister.

Blackrain then recorded the clips of Rock Your City and Innocent Rosie at the end of 2008. In March 2009, they embarked on a tour throughout France before again performing concerts throughout Europe, and even in Tunis at the Festival Méditerranéen de la Guitare8. The group is also the headliner of the Summer Rest in Sleaze festival, alongside Sister and Leaded Fuel. While the album is out of stock in France, the band declares Thundering incompetent and breaks its contract, before reselling the rights to the album in Japan under the Spiritual Beast label, and in Europe under the Listenable Records label in a reissue with a bonus song and a new design. License to Thrill was released in France on 23 November 2009.

More:
https://fr.wikipedia.org/wiki/Blackrain_(groupe)

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Re: France - One song per day.

Post by Romain » Thu Jul 11, 2019 8:50 am

Next song.

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Re: France - One song per day.

Post by Romain » Thu Jul 11, 2019 9:01 am

Pierre Bachelet - Emmanuelle - 1974 - OST
Chanson, Film Soundtrack, Film Score, Soundtracks

Album: Emmanuelle (RYM: 3.39/5)

Wikipédia.
Pierre Bachelet (25 May 1944 – 15 February 2005) was a French singer-songwriter with a gentle romantic voice.


Bachelet spent part of his childhood in Calais and developed a lifelong appreciation of the North of France, which inspired his hit song "Les corons" (1982).

In the 1970s he had some international success under the name Resonance with the hit "O.K. Chicago".

His other hit songs include "Elle est d'ailleurs" (1980), "Écris-moi" (1982), "Marionnettiste" (1985), "En l'an 2001" (1985) and "Vingt ans" (1987). He also composed music for movies, including Emmanuelle (1974), Story of O (1975), Black and White in Color (1976), Coup de tête (1979), Les Bronzés font du ski (1979), the British-made Sex with the Stars (1980), and Gwendoline (1984). His songs from the film Emmanuelle called "Emmanuelle In The Mirror" and "Theme From Emmanuelle" have been sampled in the Lily Allen single "Littlest Things", released in December 2006.

He would return to score further Emmanuelle films, such as Emmanuelle 5 (1987) and Emmanuelle 7 (1992). He also did the score for the French film Un crime au paradis (2001), which was another success for him.

His signature tune, "Les corons", released in 1982, is notably used as the supporters' anthem for the Lens football club.

Bachelet bore a physical and voice resemblance to Jacques Brel, and had a similar onstage demeanor. Bachelet held Brel's work in high respect, and his last release while alive was a cover of Brel songs.

In 2000, Bachelet was nominated for a Cesar Award for his musical score in The Children of the Marshland.

Bachelet died of lung cancer in 2005.

Emmanuelle is a 1974 French film directed by Just Jaeckin. It is the first installment in a series of French softcore pornography films based on the novel Emmanuelle. The film stars Sylvia Kristel in the title role about a woman who takes a trip to Bangkok to enhance her sexual experience. The film was former photographer Just Jaeckin's debut feature film and was shot on location in Thailand and in France between 1973 and 1974.

Emmanuelle was received negatively by critics on its initial release and with a more mixed reception years later. On its initial release in France it was one of the highest grossing French films. Columbia Pictures released both original version and English-dubbed version in the United States theatrically, making it the first X-rated film released by the company. The film was popular in Europe, the United States and Asia and was followed-up in 1975 with Emmanuelle, The Joys of a Woman. Several other films influenced by Emmanuelle were released including the Italian series Black Emanuelle.


Emmanuelle was released in France on June 26, 1974. The film sold 8.89 million tickets in France and 45 million worldwild.

In the United Kingdom, Emmanuelle was the first adult film to play in regular British theaters after receiving extensive BBFC cuts to most of the sex scenes. For its initial video release in 1990 the scene in the bar where a woman smokes a cigarette from her vagina and the scene where the character Mario encourages the rape of Emmanuelle were cut. These edits were eventually waived for the 2007 Optimum DVD release.

Emmanuelle was distributed in the United States by Columbia Pictures and was their first X rated film. Columbia agreed to distribute the film after learning that the audience seen in line for Emmanuelle was mostly women. The advertising for the film took a highbrow approach to marketing the film opposed to focusing on its exploitative nature. Columbia's president David Begelman and former Young & Rubicam president Steve Frankfurt developed the tagline for the film "X was never like this." This tagline was developed to give the audience an ambiguous reaction suggesting that the film was either more graphic than other X-rated films or more sophisticated and artistic. Jay Cocks described its promotion in Time, stating "No exclusive linage in the sex sheets, no adhesive stickers for the walls of public toilets. Emmanuelle is being hyped as a classier breed of porn." The film earned $11.5 million at United States box office, and it helped Columbia to recoup from their losses after the box office failure of Lost Horizon in 1973.

Mélodie d'amour chante le cœur d'Emmanuelle
Qui bat cœur à corps perdu
Mélodie d'amour chante le corps d'Emmanuelle
Qui vit corps à cœur déçu

Tu es encore
Presque une enfant
Tu n'as connu
Qu'un seul amant
Mais à vingt ans
Pour rester sage
L'amour est un
Trop long voyage

Mélodie d'amour chante le cœur d'Emmanuelle
Qui bat cœur à corps perdu
Mélodie d'amour chante le corps d'Emmanuelle
Qui vit corps à cœur déçu

L'amour à cœur
Tu l'as rêvé
L'amour à corps
Tu l'as trouvé
Tu es en somme
Devant les hommes
Comme un soupir
Sur leur désire

Tu es si belle
Emmanuelle
Cherche le cœur
Trouve les pleurs
Cherche toujours
Cherche plus loin
Viendra l'amour
Sur ton chemin

Mélodie d'amour chante le cœur d'Emmanuelle
Qui bat cœur à corps perdu
Mélodie d'amour chante le corps d'Emmanuelle
Qui vit corps à cœur déçu

Melody of love sang from her heart, Emmanuelle
Who’s heart beat in a body apart
Melody of love sang from her heart, Emmanuelle
Who’s body lived with broken heart

You are still now
barely more than a child
You have not known
One single love
But at twenty years
To remain wise
Love is proving
Too long a journey

Melody of love sang from her heart, Emmanuelle
Who’s heart beat in a body apart
Melody of love sang from her heart, Emmanuelle
Who’s body lived with broken heart

Love of the heart
Of this you have dreamed
Love of the body
This you have found
You are all in all
In the eyes of men
Just as a sigh
Upon their desire

You’re so beautiful
Emmanuelle
Seeking the heart
but finding the tears
Searching always
And searching still more
Love it will come
Somewhere on your way

Melody of love sang from her heart, Emmanuelle
Who’s heart beat in a body apart
Melody of love sang from her heart, Emmanuelle
Who’s body lived with broken heart

Thanks to Max-D on LyricsTranslate.

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Romain
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Re: France - One song per day.

Post by Romain » Mon Jul 15, 2019 6:32 am

Java - Sex, accordéon et alcool - 2000
Hip Hop, Musette, Chanson alternative

Album: Hawaï (RYM: 3.36/5)

Wikipédia:
Java is a French rap group, formed in 2000 as a cooperation between Erwan Séguillon (R.wan) and François-Xavier Bossard (Fixi). Other members include Jérôme Boivin and Alexis Bossard. The band is famous for its lyrics that contain a lot of puns, and for its musette musical style, using accordions. In 2008, the collective expanded with the inclusion of producer and multi-instrumentalist K-Mille.

In its formative year, the band released Hawaï, its debut album with the single "Pépettes" with immediate success and a live album Java Sur Seine the following year. They recorded their album Safari Croisière in Brazil in 2003, that included the single "Samba do Jerusalem". After a cool-off period where various members made solo recording, they came together for a third album released on 27 April 2009, right after a tour in a long tour that included Australia. On 7 September 2010, the band announced that they were going on a hiatus for an undetermined period.
Allo la terre?
Allo, allo...
Le contact a été brouilly
Allo, allo...
On ne vous reçoit plus que demis sur le zinc!
Ah ah ah ah ah!
Voici l'titi parigot qui piave à tire larigot
Donne moi une bière que je fasse mousser mon ego
J'approche du cosmos éthylique, bientôt le trou noir, le spasme... colique, l'extra-terrestre des comptoirs
Mets le compte à rebours kro... nometre les pulsions du jour, 8.6 en moyenne je nage le crawl... enbourg, et la brasserie latitude seize cent soixante quatre, coulée en apnée ça y est c'est parti!
Rampe de lancement réacteur, transmutation, j'ai perdu connaissance... normal c'est la pression...
J'ai l'inspi qui s'vesky, qui me traîne comme un husky, j'lai noyé dans le whisky comme Bukowski et j'dis "Bas les masques, bois d'la vinasse, si t'en as marre d’être vivant, fais un virement de vin dans l'ventre et vomis
Luke sky et Johnnie Walker nous nous emBourbons, faut colmater le foie a fond. Y'a une fuite dans la vessie spatiale de la NASA, j'ai la nausée? trop de kriktonic hey! de gin tonic hey.jecté du cockpit. Exit direct vite et mon beat va te mettre en orbite

La bière de mars attaque martien un petit verre
Champagne dark valstar sabre au laser
Le boulaouane kenobi
Passe en cybière space sur cd rhum pulvérise l'atmosphère, comme Arletty
Boom zoom gros plan sur le clown
Un dernier alcool de poire et je tombe dans les pommes boom
Le lendemain je me réveille la tête entre les jambes
Je suis rentré du cosmos mais j'ai gardé le scaphandre
J'ai mis un pied sur la lune je me réveille mal luné
Un petit pas pour l'homme un grand pas pour l’ébriété

Refrain X2
Java c'est pas de la menthe à l'eau
Java c'est du rock'n roll
Java c'est le vrai son parigot
La devise Sex Accordéon Et Alcool

Je suis un fossile antique de l'âge néothylique
Un rescapé du bal musette sur internet
Bok à l'inter cuttystartrek
Astérohash, fulgurojoint, camouflage soufflette
J'refoule le boulot autant que du goulot j'suis pas un cadeau
Le club chômage mon bureau ma vie mes locaux coco
J'ai pourtant eu tous les diplômes à la fac
J'suis bac plus zinc et licence 4
Un grand sportif garçon un ballon sors le carton rouge
Me mets pas sur la touche j'absorbe comme un tampon
Sers à la louche sur la Tourtel j'ai fait le grand pont
Tu peux toujours m'décrocher du comptoir je sors mes crampons
Un vétéran hors-jeu sorti des vestiaires
Entre la gnôle de saturne et la planète jupiler
Au bar le penalty tout le monde parle de mon transfert
Au Bayern de Munich pour la fête de la bière
Alerte rouge l'alcool-naute a perdu le contrôle
Je quitte l'univers à pied pour l'unique verre de gnôle
Contrôle anti-dopage j'suis bon pour la touche
Mon taux d'alcoolémie a crevé le ballon d'un souffle
La partie finie deux alca-selzer pour un zéro
J'ai la barre transversale qu'est plantée dans mon cerveau
J'ai mis un pied sur la lune je me réveille mal luné
Un petit pas pour l'homme un grand pas pour l'ébriété

Java c'est pas de la menthe à l'eau
Java c'est du rock'n roll
Java c'est le vrai son parigot
La devise Sex Accordéon Et Alcool

J'arrose tout le monde ça finit toujours en dessous de table
Vote pour mon estomac en ballottage favorable
J'fais du mal au colon l'conquistador du terroir
Partout ou je passe s'établit un comptoir
De l'ordre du poireau je veux que mon nez soit décoré
Qu'on m'enterre au Panthéon et je servirai de pilier
Sous le signe du verseau j'étais pourtant bien parti
Mais tous mes atouts sont tombés à l'eau de vie
Fallait bien que je me démerde pour vous soutirer du blé
J'ai écrit cette chanson après une étude de marché
Je la dédicace à tous les alcooliques
C'est sûr qu'au moins en France je toucherai un large public

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Re: France - One song per day.

Post by Romain » Tue Jul 16, 2019 11:25 am

Next song.

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Re: France - One song per day.

Post by Romain » Tue Jul 16, 2019 11:32 am

Lorenzo - Damdamdeo - 2019
Trap, Hip-Hop

Album: Sex in the city

Jérémie Serrandour, better known by his stage name Lorenzo, is a French rapper. He is a member of the French hip hop collective Columbine. He released his first mixtape, Empereur du sale, on March 31, 2016.

Before becoming a rapper, Jérémie Serrandour studied at the Lycée Bréquigny in Rennes, where he obtained his baccalaureate diploma in 2013. That's where he met the members of the Columbine group.

Under the name of Larry Garcia, he directed most of the videos of the Columbine collective. He nicknames many of his friends in the same spirit as his character.

In 2016, Lorenzo began his career by posting his songs on YouTube and decided, following numerous requests from his fans, to release a single record of the Emperor's album of the dirty man that he recorded on a CD and decorated with a marker. He sells it on eBay, and in a few minutes, the price exceeds 50 000 €. The site removes the sale because of the representation of a penis on the cover, then it republishes it with the blurred penis.

He works with several labels such as Universal Music and Digital Distribution Serbia, which contributed to his new album, Rien à branler, released on February 23, 2018, and preceded by the single Red Card. The album is certified as a platinum record.



[Intro : tag]
Fuck, it's easy

[Refrain]
Damdamdeo, j'arrive comme d'hab', d'hab'
Avec quelques dames, dames
Toujours quelques grammes, grammes
Faut qu'la police crame, crame
J'entends que les "bam bam"
J'évite les drames, drames comme Damdamdeo

[Couplet 1]
On est des sales pétasses comme Mary-Kate et Ashley
Le poto m'passe huit têtes de beuh, un canif et me dit : "Hache-les"
J'le fais en conduisant, j'ai pas l'mis-per, ils pourront pas m'le sucrer
Le rap, une couverture : en vrai, j'suis agent secret
Au loin, j'ai vu cette fille-là, petit ensemble FILA
T'inquiète, le 'sin, ça part en filature à base de Tequila
Je traîne dans des villas plus grandes que ton village
J'attends la fermeture, trace de coke comme Dune du Pilat
La flamme allume le cigare, l'after a duré deux taffs
On n'ira pas dans mon lit, celle d'avant lui a fait péter les lattes
J'suis trop [démat ?], on va l'faire dans la baignoire, oh, oh
Ouais, on va l'faire dans la baignoire

[Refrain]
Damdamdeo, j'arrive comme d'hab', d'hab'
Avec quelques dames, dames
Toujours quelques grammes, grammes
Faut qu'la police crame, crame
J'entends que les "bam bam"
J'évite les drames, drames comme Damdamdeo
Damdamdeo, j'arrive comme d'hab', d'hab'
Avec quelques dames, dames
Toujours quelques grammes, grammes
Faut qu'la police crame, crame
J'entends que les "bam bam"
J'évite les drames, drames comme Damdamdeo

[Couplet 2]
Pas d'rideau, un lever d'soleil, les poils du torse dépassent du peignoir
Une amatrice dans mon radar, j'vide la bouteille avec elle
Pas la plus belle du monde mais la plus belle d'un soir
Trop tard pour d'mander son nom, ses mollets sur mes épaules
J'me lâche un clin d’œil dans le miroir
Cinq heures du mat', bourré en street, dans l'équipe, que des acrobates, des aromates, des jolies filles
Ça croustille dans la Croustibat, j'fume dans les bars comme à l'époque
Le blase prend d'la place sur la prog', avec Rico comme Tic et Toc
La concu' rappe comme Crazy Frog, hey
J'vais au comico en Uber, pas très poli mais grosse dégaine
J'charbonne très tôt jusqu'à plus d'heure, quelques popstars dans mes DM
Elle demande si j'suis circoncis les yeux en accents circonflexes, han

[Refrain]
Damdamdeo, j'arrive comme d'hab', d'hab'
Avec quelques dames, dames
Toujours quelques grammes, grammes
Faut qu'la police crame, crame
J'entends que les "bam bam"
J'évite les drames, drames comme Damdamdeo
Damdamdeo, j'arrive comme d'hab', d'hab'
Avec quelques dames, dames
Toujours quelques grammes, grammes
Faut qu'la police crame, crame
J'entends que les "bam bam"
J'évite les drames, drames comme Damdamdeo

[Outro]
Après le sexe, elle a les crocs, oh, oh, oh
On a perdu des calories, hi, hi, hi
Désolé chérie, mais y a plus que de l'alcool dans le frigo, oh, oh

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Re: France - One song per day.

Post by Romain » Thu Jul 18, 2019 5:29 am

Next song.

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Re: France - One song per day.

Post by Romain » Thu Jul 18, 2019 5:40 am

Loïs Le Van - Redwood Meadow - 2016 - Jazz


Album: So much more

Lois le Van, acclaimed by critics for her album "Rendez-vous à l'Ovyne" (2017) recorded with the Bravo Big Band, had already been emulated the previous year with "So much more" (with Sylvain Rifflet on saxophone, Bruno Ruder on piano, Chris Jennings on double bass).
Playing a very eclectic jazz, always curious about new things, Lois le Van is at the initiative of Lois le Van Sextet, an ensemble whose compositions and arrangements for flugelhorn and French horn reveal all the nuances of his voice.
By having his compositions interpreted by the Bravo Big Band on the album "Rendez-vous à l'Ovyne", the singer is once again out of the ordinary, offering a work conceived as a poetic plot, on the texts of François Vaiana and Laura Karst.
In parallel, his interest in poetry is expressed in the duo Les Yeux de Berthe, co-created with pianist Sandrine Marchetti, whose first opus "Feuilles et nuages" (2015) sets contemporary poetry by Philippe Jaccottet to music.

If Lois the Van takes boundless pleasure in composing, he also likes to interpret the music of other composers. He has participated in the Belgian jazz-rock band Canopée (album "Aveugles Éblouis", 2013), and is increasingly involved as a sideman, having recently collaborated on the album "Murmures" (2018) of Tom Bourgeois' group Murmures and on the album "Morning Lights" (2018) of Seb Necca's group Grounded.
Also a fan of polyphonic experiments, notably as a member of the Belgian group Brussels Vocal Project or the Californian ensemble Vocal Flight, Lois was co-leader of the sextet a capella Ego System.


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Re: France - One song per day.

Post by Romain » Sat Jul 20, 2019 6:07 am

Next song.

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Re: France - One song per day.

Post by Romain » Sat Jul 20, 2019 6:22 am

Ange - Exode - 1974
Progressive Rock, Symphonic Prog, Symphonic Rock

Album: Au-delà du délire (RYM: 3.74/5)

Wikipédia:
Ange (English: Angel) is a French progressive rock band formed in September 1969 by the Décamps brothers, Francis (keyboards) and Christian (vocals, accordion, acoustic guitar and keyboards).

Since its inception the band's music has been inspired by medieval texts and fantasy.

Ange music was quite theatrical and poetic. Its first success in France was the cover of a Jacques Brel song, Ces gens-là, on its second album Le Cimetière des Arlequins. The band provided its first concert on January 30, 1970 at the cultural center "La Pépinière", in Belfort, France. It performed 110 concerts in England from 1973 to 1976, opening for Genesis at the Reading Festival in England, on August 26, 1973, fronting some 30.000 listeners.

One of the reasons for which the band was unable to break through into the British market was because they sang in French. Ange eventually released an English-speaking version of its fifth album Par les fils de Mandrin (By the sons of Mandrin), which was hard to find and sold poorly, although this version has since been made available on CD. Unfortunately, after three albums, the quality of creation had started to decrease, and Par les fils de Mandrin was probably not a good choice to try to break into the British market. Au delà du délire, the third album, could be the band's best effort and is recommended as the one to listen to as a starter, for newcomers to the Ange progressive phenomenon.

Following Par les fils de Mandrin and the excellent live double album Tome VI, the band issued a mellotron one, Guet-apens, and then had a more rock-oriented change of direction, although various progressive reformations occurred over the years, e.g. for the 1992 album Les larmes du Dalaï-Lama. Sponsored by the French radio RTL, Ange relentlessly toured till the end of 1977, welcoming an average of 5,000 to 6,000 listeners per show. During their first years (generally regarded as the best ones), the other three members of the band were Jean-Michel Brézovar on guitar and flute, Gérard Jelsch on drums, and Daniel Haas on bass (and acoustic guitar). In 1995, Ange played its announced farewell tour.

Christian Décamps released a few albums as "Christian Décamps et Fils" ("Christian Décamps and Son"), before taking over the name "Ange" in 1999, and is backed by his band for his solo albums. The new lineup has issued several albums from La voiture à eau in 1999, performed on 2006 edition of NEARfest and was still on the road in 2013.

Francis Décamps and Jean-Michel Brézovar have also released solo albums.

Album:
Au-delà du délire is the third album by the French progressive rock band Ange, released in 1974. The French edition of Rolling Stone magazine named this album the 73rd greatest French rock album (out of 100).

Allmusic review:
With two studio recordings under their belt (the 1972 Caricatures and the 1973 Le Cimetière des Arlequins), Ange struck artistic gold with Au-Delà du Délire. All the elements came together this time, producing France's best symphonic progressive rock album of the 1970s. Christian Decamps' medieval imagery (echoed in the music by occasional minstrel-type folk song structures) is assisted this time around by Biblical themes, something noticeable in the song titles. His voice is not the only center of attention anymore, as instrumental passages take more room and arrangements become more intricate. "Exode" actually takes off when the verse is over and the guitar and Mellotron start working on an instrumental crescendo. The pastoral "Ballade Pour Une Orgie" ("Ballad for an Orgy") is the lightest track, along with the almost pop "Fils de Lumière" ("Son of Light"). The other tracks are darker and very substantial. The soft piano and violin intro of the opener "Godevin le Vilain" ("Godevin the Villain") leads into a full-blown bombastic song. "Les Longues Nuits d'Isaac" ("Isaac's Long Nights") is heavy on guitars and is the rockiest number Ange played in these first years of existence. "Si J'Étais le Messie" ("If I Were the Messiah") is a showcase for Christian Decamps' theatrical talents, his soliloquy being backed by minimal musical flooring. Au-Delà du Délire also contains two theatrical pieces that would become classic material: "La Bataille du Sucre," the story of a time when there was no sugar left on Earth, a piece complete with characters played by each member of the band, and "Au-Delà du Délire" which culminates in a anthemic instrumental section with one of Jean-Michel Brézovar's best guitar solos. On this album, Ange developed a heavy, dark, and bombastic sound (thanks to the Mellotron) they will partly abandon afterwards, as the transitional album Émile Jacotay exemplifies. But Au-Delà du Délire had such an impact on the French market that the label Philips reissued it on CD in a budget-price collection along with titles by songwriters like Jacques Brel, Georges Moustaki, and Serge Reggiani.
L'ombre est divine
Mais l'esprit se bruine
J'ai envie de rattraper le temps

L'ombre est chinoise
Mes yeux se croisent
Sur le bouton, maître de mes instants !

L'ombre m'enlace
Mon carcan se glace
J'ai envie d'éclater en morceaux !

L'ombre me baigne
Au reflux de son règne
Au risque de me plisser la peau !

L'ombre m'oppresse
Elle se veut caresse
J'ai envie de surpasser le temps !

L'ombre est distraite
L'envie me guette
Je vais briser l'ascenseur du temps !

The shadow is divine
But the spirit drizzles
I want to seize back the time

The shadow is Chinese
My eyes are crossed
On the button, master of my instants!

The shadow tangles me
My straitjacket freezes
I want to burst into pieces!

The shadow bathes me
In the reflux of its reign
At the risk of wrinkling my skin!

The shadow oppresses me
She became caresse
I want to surpass the time!

The shadow is distracted
The desire stares at me
I'll shatter the elevator of time!

Thanks to BerimbauBocs on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Mon Jul 22, 2019 11:19 am

Next song.

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Re: France - One song per day.

Post by Romain » Mon Jul 22, 2019 11:31 am

Vanessa Paradis - Joe le taxi - 1987
Pop Rock, Pop, Pop Soul, Nouvelle chanson française, Sophisti-Pop

Album: M & J (RYM: 3.16/5)


Artist Biography by Stephen Thomas Erlewine (Allmusic)

Vanessa Paradis had her first hit when she was 14 years old in 1987. The song, "Joe Le Taxi," launched a career that encompassed acting and modeling, creative pursuits that made the French native an international superstar and attracted such high-profile romantic interests as Lenny Kravitz -- who produced her eponymous English debut in 1992 -- and Johnny Depp, who fathered her actress daughter, Lily-Rose Depp, in 1999.

Born in Saint-Maur-des-Fossés, Val-de-Marne, France on December 22, 1972, Vanessa Paradis was the niece of record producer Didier Pain. Her uncle fostered her career in the early days, landing her a spot on a televised talent show, L'Ecole des Fans, which led to her first single, "La Magie des Surprises Parties," in 1983. Four years later, when Paradis was 14, she released her first album, M&J, which featured "Joe Le Taxi," a single that turned into a smash hit in France, staying at number one for 11 weeks. "Joe Le Taxi" also crossed over to the U.K. charts, where it peaked at number three.

Paradis took her first film role in 1989's Noce Blanche, and in 1990 she released Variations sur le Même T'Aime, an album featuring 11 songs co-written by French pop legend Serge Gainsbourg. Chanel hired her to model for a Coco Chanel ad campaign in 1991, setting Paradis' attempt to break into the American marketplace in 1992. Working with her boyfriend Lenny Kravitz, Paradis completed her eponymous English-language debut in 1991. Its single, "Be My Baby" (not a cover of the classic 1964 Ronettes single), didn't crack the U.S. charts but it did give her another Top Ten hit in the U.K. A live album, appropriately entitled Live, appeared in France in 1994.

During the second half of the '90s, Paradis focused on film. Her next movie was Elisa in 1995, followed by Witch Way Love in 1997 and Une Chance sur Deux in 1998. Her biggest international role was in Patrice Leconte's 1999 movie Girl on the Bridge, a remake of a 1951 film. By the time this film hit the theaters, Paradis was romantically involved with American actor Johnny Depp. The pair would stay together until 2012, having two children -- Lily-Rose Depp and Jack Depp -- during the course of their relationship.

Paradis returned to music with 2000's Bliss, but the first half of the 2000s was relatively quiet for her. In 2007, she released the album Divinidylle and appeared in the film La Clef. A live album, Une Nuit à Versailles, appeared in 2010 alongside the movie Heartbreaker, but these were overshadowed by her winning a Genie Award -- the Canadian equivalent of an Oscar -- for her leading role in Jean-Marc Vallée's 2011 film, Café de Flore.

Her next album, 2013's Love Songs, was a double album of romantic songs produced by singer Benjamin Biolay. In 2016, she served on the jury of the Cannes Film Festival and appeared alongside daughter Lily-Rose Depp in Kevin Smith's film Yoga Hosers.

AllMusic Review by Johnny Loftus
Vanessa Paradis' pleasantly understated 1987 debut propelled the then 16 year old into modeling, acting, and further singing when the single "Joe Le Taxi" became an unlikely international hit. She would go on to become a French national treasure, date Johnny Depp, and be Lenny Kravitz' 1970s AM radio muse on a memorable English-language effort. But disregarding all of that, M & J is a remarkably solid album, driven steadily along by lite-pop arrangements and Paradis' disarming vocals. She's not an accomplished singer; at the same time, her wispy, girlish voice nestles perfectly into the album's clutch of head-nodding numbers. "Maxou"'s simply sunny piano flirts with a wide-eyed, almost naïve vocal; it's easy to imagine a black-and-white, silent movie sequence where the beguiling Vanessa is pursued through the streets of Paris by a luckless suitor. Paradis sashays her way across "Mosquito"'s slight new wave groove and sells the Latin cabaret feel of "Marilyn & John" with aplomb. But it's the wistful "Joe Let Taxi" where she really shines, since the track's sax-laced slow burn is the perfect foil for her fetching delivery. Remember in Tom & Jerry when Tom floats on the intoxicating drift of his true love's perfume? That's what this entire album makes you feel like.

Song: (wikipédia)
"Joe le taxi" (English: "Joe the Taxi Driver") is a French song written by Franck Langolff and Étienne Roda-Gil for French singer Vanessa Paradis. It was later included in her debut album, M&J, which was released in 1987.

Paradis recorded the song in 1987, at the age of fourteen. It went on to top the singles chart in France for eleven weeks, and, uncommonly for a French-language song at that time, was released in the United Kingdom the following year, where it peaked at number three. The song was included in her debut album, M&J (short for "Marilyn & John"), which, although peaking at number thirteen in France, drew limited interest in the UK when it was issued in August 1988. The music video for the song was produced by Lili Balian, Jake Hertz, and Addie Calcagnini.

"Joe le taxi" debuted at number twenty-one on the French Singles Chart, reaching number one in its fourth week, and remaining there for eleven weeks. It was also number one in Belgium (for 13 weeks), Canada and Israel. It reached the top five in the United Kingdom, Ireland, and Norway and the top ten in Germany and Sweden.

In France, "Joe le taxi" is the eighty-fourth best-selling single of all time.
Joe le taxi
Y va pas partout
Y marche pas au soda
Son saxo jaune
Connaît toutes les rues par cœur
Tous les p'tits bars
Tous les coins noirs
Et la Seine
Et ses ponts qui brillent
Dans sa caisse
La musique à Joe
C'est la rumba
Le vieux rock au mambo

Joe le taxi
C'est sa vie
Le rhum au mambo
Embouteillage
Il est comme ça
Rhum et mambo
Joe, Joe, Joe…

Dans sa caisse [cha-cha-cha]
La musique à Joe résonne [cha-cha-cha]
C'est la rumba [cha-cha-cha]
Le vieux rock au mambo bidon [cha-cha-cha]
Vas-y Joe [cha-cha-cha]
Vas-y Joe [cha-cha-cha]
Vas-y fonce [cha-cha-cha]
Dans la nuit vers l'Amazone [cha-cha-cha]
Joe le taxi
Et Xavier Cugat
Joe le taxi
Et Yma Sumac
Joe, Joe, Joe…

Joe le taxi
C'est sa vie
Le rhum au mambo
Embouteillage
Joe le taxi
Et les Mariachis
Joe le taxi [cha-cha-cha]
Et le cha-cha-chi [cha-cha-cha]
Joe le taxi [cha-cha-cha]
Et le cha-cha-chi [cha-cha-cha]
Vas-y Joe [cha-cha-cha]
Vas-y fonce [cha-cha-cha]
Dans la nuit vers l'Amazone [cha-cha-cha]
Joe le taxi [cha-cha-cha]
Et le cha-cha-chi [cha-cha-cha]
Joe le taxi…

Joe the cab driver
won't go to some places
won't go for soft drinks.
His yellow saxophone1
knows every street by heart:
every cosy bar
every dark alley
and the Seine river
and her glittering bridges.
In his car
Joe's music echoes
It's the rumba,
the good old mambo-flavoured rock.

For Joe the cab driver
that's how life goes:
the mambo-flavoured rhum
a traffic jar2.
That's the way he is -
rhum and mambo.
Joe - Joe - Joe...

In his car
Joe's music echoes
It's the rumba,
the phoney mambo-flavoured rock.
Come on, Joe
come on, Joe
drive on, Joe
through the night toward the Amazon.
Joe the cab driver
and Xavier Cugat3
Joe the cab driver
and Yma Sumac4
Joe - Joe - Joe...

For Joe the cab driver
that's how life goes:
the mambo-flavoured rhum
a traffic jar.
Joe the cab driver
and the Mariachis
Joe the cab driver
and the cha-cha-chi5
Joe the cab driver
and the cha-cha-chi.

Come on, Joe
come on, Joe
drive on, Joe
through the night toward the Amazon.

1. a metaphor for an American yellow cab. French taxis are ordinary looking cars of no particular color
2. a play on the two possible meanings of "embouteillage" - traffic jam and bottling
3. a king of mambo
4. a Peruvian diva who sang mambos among other things
5. meant to rhyme with "taxi", put "cha-cha-cher" here if you prefer

Thanks to Shampoo on LyricsTranslate.

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Re: France - One song per day.

Post by Romain » Tue Jul 23, 2019 3:09 pm

To celebrate the 500,000 views on e thread, I'm giving you a huge classic of French song, one of the greatest works of art ever created.

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Re: France - One song per day.

Post by Romain » Tue Jul 23, 2019 3:22 pm

Patrick Sébastien - Le petit bonhomme en mousse - 1999

Wikipédia:
Patrick Boutot (born 14 November 1953 in Brive-la-Gaillarde, Corrèze), better known as Patrick Sébastien, is a French television host, producer and media personality, radio host, singer, writer, producer, director, impressionist entertainer, comedian, TV and film actor, and former president of the French rugby team CA Brive.

Le petit bonhomme en mousse
Qui s'élance et rate le plongeoir
C'est comme la chanson douce
Que chantait ta maman le soir
La petite, petite marionnette
Qui s'étale et qui s'entête
C'est l'enfance qui revient
Le soir où tu as du chagrin
Quand ta vie se traîne
Quand t'as de la peine
Quand personne t'aime
Que t'as des problèmes
Quand la vie est dure
Plus d'une aventure
Rien que des blessures
Vilaine figure
Ne pleure pas
Ne t'en fais pas
Regarde-moi
Et n'oublie pas
la la la la la ...

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Re: France - One song per day.

Post by Romain » Thu Jul 25, 2019 5:31 am

Next song.

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Re: France - One song per day.

Post by Romain » Thu Jul 25, 2019 5:31 am

Cassius - Cassius 1999 - 1999 - Electro
House, Electro House, House, Dance-Punk

Wikipédia:
Cassius was a French musical duo consisting of producers Philippe Cerboneschi and Hubert Blanc-Francard, better known as Zdar and Boombass (or sometimes Philippe Zdar and Hubert Boombass). Under its different incarnations the duo is likened to the "French Touch" movement of electronic music in the second half of the 1990s.

Zdar and Boombass started working together in 1988, producing albums for the French hip-hop artist MC Solaar. In 1991, they created their first project, called La Funk Mob, and the following year, they started to increasingly experiment with electronic sounds. Zdar's experience with electronic music was influential in his involvement with Étienne de Crécy in the project Motorbass, who released a sole full-length album, Pansoul.

In 1996, Zdar and Boombass then created "Foxxy", their first self-released house music track, under the name Cassius, and the moderate success that followed lead to them remixing tracks for acts such as Air. In January 1999, they released their first single to become a mainstream hit, "Cassius 1999". It was published by Virgin Records, and entered the UK Singles Chart at #7. This was soon followed by their debut album, 1999, which had two more singles released from it, "Feeling For You" and "La Mouche". The music videos for "Cassius 1999" and "Feeling for You" portrayed the character Deadman, from DC Comics, as a DJ superhero.

2002 saw their second album release, Au Rêve. This featured the "empowered female disco" track "I'm a Woman", with Jocelyn Brown on vocals, as well as the hit single "The Sound of Violence", featuring Steve Edwards on vocals. This album also had collaborations with Wu-Tang Clan member Ghostface Killah and Leroy Burgess.

Cassius returned to the studio in 2006, for the more experimental single "Toop Toop", but the next album, titled 15 Again, featured more vocal collaborations than the duo had done with Au Rêve.

While rehearsing their 15 Again album tour, Cassius provided the community with the a cappella track of their single "Toop Toop" and encouraged fans and friends to start remixing the song. It became an immediate success: the band started the Cassius Workshop project and released more a cappellas for remixing purposes. They claim to have received more than 400 remixes.

Cassius's song "I Love You So" was sampled on the track "Why I Love You" on Jay-Z and Kanye West's 2011 collaboration album Watch the Throne.

On 19 June 2019, two days before the release of Cassius's album Dreems, Zdar died after falling from a 19-storey building in Paris. He was 52 years old. On the release day of Dreems, the band announced that the album was the final release from Cassius.

Album:
Allmusic
A sleek and intelligent dance record, Zdar and Boombass' debut is an intriguing update of classic '80s garage and disco in the same fashion that Daft Punk rewired Chicago acid house for 1997's Homework. Most of the best tracks here, including "La Mouche" and "Foxxy," weave snippets of diva vocals and flexible basslines into up-front productions with a focus on tight rhythm programming. Unfortunately, too many tracks on 1999 suffer from what can be an unhappy medium -- casual pacing for a club tune but rather formulaic production values to make for solid living-room listening. Aside from the single "Cassius 1999," the hip-hop punch of "Mister Eveready" is another highlight.

And a sample of the Zdar work on with Phoenix.

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