France - One song per day.

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Romain
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Re: France - One song per day.

Post by Romain » Tue Jul 08, 2014 8:17 am

Edith Piaf - Non, je ne regrette rien - 1960

Artist Biography by Steve Huey (Allmusic)

Edith Piaf is almost universally regarded as France's greatest popular singer. Still revered as an icon decades after her death, "the Sparrow" served as a touchstone for virtually every chansonnier, male or female, who followed her. Her greatest strength wasn't so much her technique, or the purity of her voice, but the raw, passionate power of her singing. (Given her extraordinarily petite size, audiences marveled all the more at the force of her vocals.) Her style epitomized that of the classic French chanson: highly emotional, even melodramatic, with a wide, rapid vibrato that wrung every last drop of sentiment from a lyric. She preferred melancholy, mournful material, singing about heartache, tragedy, poverty, and the harsh reality of life on the streets; much of it was based to some degree on her real-life experiences, written specifically for her by an ever-shifting cast of songwriters. Her life was the stuff of legend, starting with her dramatic rise from uneducated Paris street urchin to star of international renown. Along the way, she lost her only child at age three, fell victim to substance abuse problems, survived three car accidents, and took a seemingly endless parade of lovers, one of whom perished in a plane crash on his way to visit her. Early in her career, she chose men who could help and instruct her; later in life, with her own status secure, she helped many of her lovers in their ambitions to become songwriters or singers, then dropped them once her mentorship had served its purpose. By the time cancer claimed her life at age 47, Piaf had recorded a lengthy string of genre-defining classics -- "Mon Légionnaire," "La Vie en Rose," "L'Hymne à l'Amour," "Milord," and "Non, Je Ne Regrette Rien" among them -- that many of her fans felt captured the essence of the French soul.

Piaf was born Edith Giovanna Gassion on December 19, 1915, in Ménilmontant, one of the poorer districts of Paris. According to legend, she was born under a street light on the corner of the Rue de Belleville, with her mother attended by two policemen; some have disputed this story, finding it much likelier that she was born in the local hospital. Whatever the case, Piaf's origins were undeniably humble. Her father, Louis Gassion, was a traveling acrobat and street performer, while her Moroccan-Italian mother, Anita Maillard, was an alcoholic, an occasional prostitute, and an aspiring singer who performed in cafés and on street corners under the name Line Marsa. With her father serving in World War I, Edith was virtually ignored by both her mother and grandmother; after the war, her father sent her to live with his own mother, who helped run a small brothel in the Normandy town of Bernay. The prostitutes helped look after Edith when they could; one story goes that when five-year-old Edith lost her sight during an acute case of conjunctivitis, the prostitutes shut down the brothel to spend a day praying for her in church, and her blindness disappeared several days later.

Edith's father returned for her in 1922, and instead of sending her to school, he brought her to Paris to join his street act. It was here that she got her first experience singing in public, but her main duty at first was to pass the hat among the crowd of onlookers, manipulating extra money from whomever she could. She and her father traveled all over France together until 1930, when the now-teenaged Edith had developed her singing into a main attraction. She teamed up with her half-sister and lifelong partner in mischief, Simone Berteaut, and sang for tips in the streets, squares, cafés, and military camps, while living in a succession of cheap, squalid hotels. She moved in circles of petty criminals and led a promiscuous nightlife, with a predilection for pimps and other street toughs who could protect her while she earned her meager living as a street performer. In 1932, she fell in love with a delivery boy named Louis Dupont, and bore him a daughter. However, in a pattern she would repeat throughout her life, she tired of the relationship, cheated, and ended it before he could do the same. Much like her own mother, Edith found it difficult to care for a child while working in the streets, and often left her daughter alone. Dupont eventually took the child himself, but she died of meningitis several months later. Edith's next boyfriend was a pimp who took a commission from her singing tips, in exchange for not forcing her into prostitution; when she broke off the affair, he nearly succeeded in shooting her.

Living the high-risk life that she did, Edith Gassion almost certainly would have come to a bad end had she not been discovered by cabaret owner Louis Leplée while singing on a street corner in the Pigalle area in 1935. Struck by the force of her voice, Leplée took the young singer under his wing and groomed her to become his resident star act. He renamed her "La Môme Piaf" (which in Parisian slang translates roughly as "the little sparrow" or "the kid sparrow"), fleshed out her song repertoire, taught her the basics of stage presence, and outfitted her in a plain black dress that would become her visual trademark. Leplée's extensive publicity campaign brought many noted celebrities to Piaf's opening night, including Maurice Chevalier; she was a smashing success, and in January 1936, she cut her first records for Polydor, "Les Momes de la Cloche" and "L'Étranger"; the latter was penned by Marguerite Monnot, who would continue to write for Piaf for the remainder of both their careers.

Tragedy struck in April 1936, when Leplée was shot to death in his apartment. Police suspicion initially fell on Piaf and the highly disreputable company she often kept, and the ensuing media furor threatened to derail her career even after she was cleared of any involvement. Scandal preceded her when she toured the provinces outside Paris that summer, and she realized that she needed help in rehabilitating her career and image. When she returned to Paris, she sought out Raymond Asso, a songwriter, businessman, and Foreign Legion veteran; she had rejected his song "Mon Légionnaire," but it had subsequently been recorded by Marie Dubas, one of Piaf's major influences. Intensely attracted to Piaf, Asso began an affair with her and took charge of managing her career. He partially restored her real name, billing her as Edith Piaf; he barred all of Piaf's undesirable acquaintances from seeing her; he set about making up for the basic education that neither Edith nor Simone had received. Most importantly, he talked with Piaf about her childhood on the streets, and teamed up with "L'Étranger" composer Marguerite Monnot to craft an original repertoire that would be unique to Piaf's experiences. In January 1937, Piaf recorded "Mon Légionnaire" for a major hit, and went on to cut the Asso/Monnot collaborations "Le Fanion de la Légion," "C'est Lui Que Mon Coeur a Choisi" (a smash hit in late 1938), "Le Petit Monsieur Triste," "Elle Frequentait la Rue Pigalle," "Je N'en Connais Pas la Fin," and others. Later that year, Piaf made concert appearances at the ABC Theater (where she opened for Charles Trenet) and the Bobino (as the headliner); the shows were wildly successful and made her the new star of the Paris music scene.

In the fall of 1939, Asso was called to serve in World War II. Early the next year, Piaf recorded one of her signature songs, "L'Accordéoniste," just before its composer, Michel Emer, left for the war; she would later help the Jewish Emer escape France during the Nazi occupation. In Asso's absence, she took up with actor/singer Paul Meurisse, from whom she picked up the refinements and culture of upper-class French society. They performed together often, and also co-starred in Jean Cocteau's one-act play Le Bel Indifférent; however, their relationship soon deteriorated, and Piaf and Simone moved into an apartment over a high-class brothel. By this time, the Nazis had taken over Paris, and the brothel's clientele often included Gestapo officers. Piaf was long suspected of collaborating with -- or, at least, being overly friendly to -- the Germans, making numerous acquaintances through her residence and performing at private events. She resisted in her own way, however; she dated Jewish pianist Norbert Glanzberg, and also co-wrote the subtle protest song "Où Sont-Ils Mes Petits Copains?" with Marguerite Monnot in 1943, defying a Nazi request to remove the song from her concert repertoire. According to one story, Piaf posed for a photo at a prison camp; the images of the French prisoners in the photo were later blown up and used in false documents that helped many of them escape.

Before the war's end, Piaf took up with journalist Henri Contet, and convinced him to team up with Marguerite Monnot as a lyricist. This proved to be the most productive partnership since the Asso years, and Piaf was rewarded with a burst of new material: "Coup de Grisou," "Monsieur Saint-Pierre," "Le Brun et le Blond," "Histoire du Coeur," "Y'a Pas D'Printemps," and many others. Her affair with Contet was relatively brief, but he continued to write for her after they split; meanwhile, Piaf moved on to an attractive young singer named Yves Montand in 1944. Under Piaf's rigorous tutelage, Montand grew into one of French pop's biggest stars within a year, and she broke off the affair when his popularity began to rival her own. Her next protégés were a nine-member singing group called Les Compagnons de la Chanson, who toured and recorded with her over the next few years (one member also became her lover). Now recording for the Pathe label, she scored a major hit in 1946 with "Les Trois Cloches," which would later become an English-language smash for the Browns when translated into "The Three Bells." Later that year, she recorded the self-composed number "La Vie en Rose," another huge hit that international audiences would come to regard as her signature song.

Piaf embarked on her first American tour in late 1947, and at first met with little success; audiences expecting a bright, gaudy Parisian spectacle were disappointed with her simple presentation and downcast songs. Just as she was about to leave the country, a prominent New York critic wrote a glowing review of her show, urging audiences not to dismiss her out of hand; she was booked at the Café Versailles in New York, and thanks to the publicity, she was a hit, staying for over five months. In that time, she met up with French boxer Marcel Cerdan, an acquaintance of about a year. In spite of Cerdan's marriage, the two began a passionate affair, not long before Cerdan won the world middleweight championship and became a French national hero. Unfortunately, tragedy struck in October 1949, when Cerdan was planning to visit Piaf in New York; wanting him to arrive sooner, she convinced him to take a plane instead of a boat. The plane crashed in the Azores, killing him. Devastated by guilt and grief, Piaf sank into drug and alcohol abuse, and began to experiment with morphine. In early 1950, she recorded "L'Hymne à l'Amour," a tribute to the one lover Piaf would never quite get over; co-written with Marguerite Monnot, it became one of her best-known and most heartfelt songs.

In 1951, Piaf met the young singer/songwriter Charles Aznavour, a future giant of French song who became her next protégé; unlike her others, this relationship always remained strictly platonic, despite the enduring closeness and loyalty of their friendship. Aznavour served as a jack-of-all-trades for Piaf -- secretary, chauffeur, etc. -- and she helped him get bookings, brought him on tour, and recorded several of his early songs, including the hit "Plus Bleu Que Tes Yeux" and "Jézébel." Their friendship nearly came to an early end when both were involved in a serious car accident (as passengers); Piaf suffered a broken arm and two broken ribs. With her doctor prescribing morphine for pain relief, she soon developed a serious chemical dependency to go with her increasing alcohol problems. In 1952, she romanced and married singer Jacques Pills, who co-wrote her hit "Je T'ai Dans la Peau" with his pianist, Gilbert Bécaud; Bécaud would soon go on to become yet another of the pop stars launched into orbit with Piaf's assistance. Meanwhile, Pills soon discovered the gravity of Piaf's substance abuse problems, and forced her into a detox clinic on three separate occasions. Nonetheless, Piaf continued to record and perform with great success, including appearances at Carnegie Hall and Paris' legendary Olympia theater. She and Pills divorced in 1955; not long afterward, she suffered an attack of delirium tremens and had to be hospitalized.

As an interpretive singer, Piaf was at the height of her powers during the mid-'50s, even in spite of all her health woes. Her international tours were consistently successful, and the devotion of her massive French following verged on worship. She scored several more hits over 1956-1958, among them "La Foule," "Les Amants D'un Jour," "L'homme à la Moto," and the smash "Mon Manège à Moi." During that period, she also completed another stay in detox; this time would prove to be successful, but years of drug and alcohol abuse had already destabilized her health. In late 1958, she met another up-and-coming songwriter, Georges Moustaki, and made him her latest lover and improvement project. Teaming once again with Marguerite Monnot, Moustaki co-wrote "Milord," an enormous hit that topped the charts all over Europe in early 1959 and became Piaf's first successful single in the U.K. Later that year, she and Moustaki were involved in another car accident, in which her face was badly cut; in early 1960, while performing at the Waldorf Astoria in New York, she collapsed and began to vomit blood on stage, and was rushed to the hospital for emergency stomach surgery. Stubbornly, she continued her tour, and collapsed on-stage again in Stockholm; this time she was sent back to Paris for more surgery.

Piaf was soon back in the recording studio, eager to record a composition by the legendary French songwriter Charles Dumont. "Non, Je Ne Regrette Rien" became one of her all-time classics and a huge international hit in 1960, serving as something of an equivalent to Frank Sinatra's "My Way." Piaf went on to score further hits with more Dumont songs, including "Mon Dieu," "Les Flons-Flons du Bal," and "Les Mots D'Amour." She staged a lengthy run at the Olympia in 1961, and later that year met an aspiring Greek singer named Théo Sarapo (born Theophanis Lamboukis), who became her latest project and, eventually, second husband. Sarapo was half her age, and given Piaf's poor health, the French media derided him as a gold digger. Nonetheless, they cut the duet "À Quoi Ça Sert l'Amour" in 1962, and performed together during Piaf's final engagement at the Olympia that year. Despite her physical weakness -- on some nights, she could barely stand -- Piaf had lost very little of the power in her voice.

Piaf and Sarapo sang together at the Bobino in early 1963, and Piaf also made her final recording, "L'Homme de Berlin." Not long afterward, Piaf slipped into a coma, brought on by cancer. Sarapo and Simone Berteaut took Piaf to her villa in Plascassier, on the French Riviera, to nurse her. She drifted in and out of consciousness for months before passing away on October 11, 1963 -- the same day as legendary writer/filmmaker Jean Cocteau. Her body was taken back to Paris in secret, so that fans could believe she died in her hometown. The news of her death caused a nationwide outpouring of grief, and tens of thousands of fans jammed the streets of Paris, stopping traffic to watch her funeral procession. Her towering stature in French popular music has hardly diminished in the years since; her grave at Père-Lachaise remains one of the famed cemetery's most visited, and her songs continue to be covered by countless classic-style pop artists, both French and otherwise.

The song :
(Wikipédia) Non, je ne regrette rien" (French pronunciation: ​[nɔ̃ ʒə nə ʁəɡʁɛtə ʁjɛ̃], meaning "No, I regret nothing") is a French song composed by Charles Dumont, with lyrics by Michel Vaucaire. It was written in 1956, and is best known through Édith Piaf's 1960 recording, which spent seven weeks atop the French Singles & Airplay Reviews chart.

Piaf dedicated her recording of the song to the French Foreign Legion. At the time of the recording, France was engaged in a military conflict, the Algerian War (1954–1962), and the 1st REP (1st Foreign Parachute Regiment) — which backed a temporary putsch of 1961 by the French military against president Charles de Gaulle and the civilian leadership of Algeria – adopted the song when their resistance was broken. The leadership of the Regiment was arrested and tried but the non-commissioned officers, corporals and Legionnaires were assigned to other Foreign Legion formations. They left the barracks singing the song, which has now become part of the French Foreign Legion heritage and is sung when they are on parade.

The rhymes of the words echo the rhythm of the melody following typical French meter, where words almost always stress the final syllable, in iambic and anapestic compositions. A literal translation is unable to maintain the internal harmony of lyric and tune, since English words usually stress an earlier syllable and are most often suited to trochaic (DA-da-DA-da) and dactylic (DA-da-da-DA-da-da) meter. A variety of English language versions have been recorded. Discussion of their merits is ongoing. The superlative, all-encompassing object arousing the transcendent emotions of the lover singing the song, and the use of passive reflexive verb (ni le bien qu'on m'a fait / ni le mal) to describe good and bad perceived by a person can be rendered (not the good that one did to me / nor the bad) using the absolute impersonal pronoun.

Non, rien de rien
Non, je ne regrette rien
Ni le bien qu'on m'a fait
Ni le mal; tout ça m'est bien égal !

Non, rien de rien
Non, je ne regrette rien
C'est payé, balayé, oublié
Je me fous du passé !

Avec mes souvenirs
J'ai allumé le feu
Mes chagrins, mes plaisirs
Je n'ai plus besoin d'eux !

Balayées les amours
Et tous leurs trémolos
Balayés pour toujours
Je repars à zéro

Non, rien de rien
Non, je ne regrette rien
Ni le bien qu'on m'a fait
Ni le mal; tout ça m'est bien égal !

Non, rien de rien
Non, je ne regrette rien
Car ma vie, car mes joies
Aujourd'hui, ça commence avec toi

No, nothing at all,
No, I regret nothing
Not the good things they did to me
Nor the bad -- may as well be the same to me!

No, nothing at all,
No, I regret nothing.
It's bought and paid for, wiped away, forgotten,
I don't give a damn about the past!

With my memories
I've lit up the fire
Of my troubles, my pleasures,
I don't need them any more!

Wiped away the romances
And all their instabilities
Swept away for eternity
I restart at zero

No, nothing at all,
No, I regret nothing
Not the good things they did to me
Nor the bad -- may as well be the same to me!

No, nothing at all,
No, I regret nothing
Because my life, because my joys
Today, I begin with you

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Romain
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Re: France - One song per day.

Post by Romain » Tue Jul 08, 2014 8:21 am

Édouard-Léon Scott de Martinville - Au clair de la lune - 1860
Georges Bizet - Les pêcheurs de perles / Je crois entendre encore - 1863
Camille Saint-Saëns - Danse Macabre op 40 - 1874
Paul Dukas - L'apprenti sorcier - 1897
Claude Debussy - Suite Bergamasque - Clair de lune - 1905
Maurice Ravel - Boléro - 1928

Lucienne Boyer - Parlez-moi d'amour - 1930
Gaston Ouvrard - Je ne suis pas bien portant - 1934
Mireille et Jean Sablon - Puisque vous partez en voyage- 1938
Lucienne Delyle - mon amant de Saint-Jean - 1942
Charles Trénet - Que Reste-t'il de nos amour ? - 1942
Yves Montand - Les Feuilles Mortes - 1945
Henri Salvador - Le loup, la biche et le chevalier (une chanson douce) - 1950
Brassens & Patachou - Maman, papa - 1952
Boris Vian - Fais-moi mal, Johnny - 1956

Juliette Gréco - Il n'y a plus d'après - 1960
Edith Piaf - Non, je ne regrette rien - 1960
Bourvil - C'était bien (au petit bal perdu) - 1961
Salvatore Addamo - Tombe la neige - 1963
Jean Ferrat - Que serais-je sans toi ? - 1964
Françoise Hardy - La Nuit Est Sur La Ville - 1964
France Gall - Laisse tomber les filles - 1964
Les Parisiennes - Il fait trop beau pour travailler - 1964
Régine - Les P'tits papiers - 1965
Hervé Vilard - Capri, c'est fini - 1965
Hugues Aufray - Céline - 1966
Mireille Mathieu - Paris en colère - 1966
Antoine - Les élucubrations - 1966
Pascal Danel - Les neiges du Kilimanjaro - 1966

Pierre Henry - Psyché Rock - 1967
Brigitte Bardot - Harley Davidson - 1967
Stella - Si vous connaissez quelque-chose de pire qu'un vampire, parlez m'en toujours, ça pourra peut-être me faire sourire - 1967
Barbara - Du bout des lèvres - 1968
Jacques Dutronc - Proverbes - 1968
Jean-François Michael - Adieu, jolie Candy - 1968
Claude François - Comme d'habitude - 1968
Michel Polnareff - Le bal des Laze - 1968
Georges Moustaki - Le Métèque - 1969

Jean-Jacques Perrey - E.V.A. - 1970
Boby Lapointe - Méli-Mélodie - 1970
Michel Polnareff - Qui A Tué Grand' Maman - 1971
Julien Clerc - Ce n'est rien - 1971
Léo Ferré - Avec le temps - 1971
Nicoletta - mamy Blue - 1971
Maxime Le Forestier - San Fransisco - 1972
Jean-Claude Vannier - Les gardes volent au secours du roi - 1972
Les variations - Je suis juste un rock'n'roller - 1972

Alain Goraguer - La Planète Sauvage - 1973 - OST
Magma - Mekanïk Destruktïw Kommandöh - 1973/1989
Daniel Guichard - Mon vieux - 1974
Nino Ferrer - Le sud - 1974
Christophe - Les Mots Bleus - 1974
Dalida - Il venait d'avoir 18 ans - 1974
Gérard Manset - Il voyage en solitaire - 1975
Jeanne Moreau - India Song - 1975
Jane Birkin - Ballade de Johnny Jane - 1976
Jean-Michel Jarre - Oxygène Part IV - 1976

Philippe Sarde - Le locataire - Main title - 1976 - OST
Marie Myriam - L'enfant et l'oiseau - 1977
Pierre Perret - Mon P'tit Loup - 1979
Patrick Hernandez - Born to be alive - 1979
Jean-Patrick Capdevielle - Quand t'es dans le désert - 1979

Trust - Antisocial - 1980
Taxi Girl - Cherchez le garçon - 1980
Charlélie Couture - Comme un avion sans aile - 1981
Marquis de Sade - Wanda's Loving Boy - 1981
Patrick Coutin - J'aime regarder les filles - 1981
Hervé Cristiani - Il est libre Max - 1981
Jean Schultheis - Confidence pour confidence - 1981
Renaud - Manu - 1981
Chagrin d'Amour - Chacun fait c'qui lui plaît - 1982
Richard Gotainer - La ballade de l'obsédé - 1982
Indochine - L'aventurier - 1982
Michel Jonasz - La boîte de Jazz - 1985
Jean-Jacques Goldman - Je te donne - 1985
Bérurier Noir - Le renard - 1985
Bibie - Tout doucement - 1985
Caroline Loeb - C'est la Ouate - 1986
Mylène Farmer - Libertine - 1986
La Compagnie Créole - Ca fait rire les oiseaux - 1986
Guesch Patti - Etienne - 1987
Jean-Louis Aubert - Les plages - 1987
Desireless - Voyage Voyage - 1987
Les Négresses Vertes - Voilà L'été - 1988
Bernard Lavilliers - On The Road Again - 1988
Richard Gotainer - Le Combat De Rock - 1989

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

Etienne Daho et Dani - Comme un Boomerang - 2001
Hubert-Félix Thiéfaine - Guichet 102 - 2001
Brigitte Fontaine et Noir Désir - Bis Baby Boum Boum - 2001
Noir Désir - Le vent nous portera - 2001
Johnny Hallyday - Marie! - 2002
M - Qui de nous deux ? - 2003
A.S. Dragon - Dirty - 2003
Tété - A la faveur de l'automne - 2003
Mickey 3D - Respire - 2003
Philippe Katerine - Louxor J'adore - 2005
Emilie Simon - Le vieil amant - 2006
Kamini - Marly-Gomont - 2006
Renan Luce - La lettre - 2006
EZ3kiel - Adamantium - 2008
Benjamin Biolay - Brandt Rhapsodie - 2009
BB Brunes - Lalalove you - 2009
Anaïs - Mon coeur, mon amour - 2009

Ben L'Oncle Soul - Soulman - 2010
Arthur H - Cheval de Feu - 2011
Orelsan - Suicide Social - 2011
Cascadeur - Walker - 2011
Sébastien Tellier - Cochon Ville- 2012
Moodoïd - De Folie Pure - 2013
Zaz - On ira ! - 2013

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Romain
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Re: France - One song per day.

Post by Romain » Wed Jul 09, 2014 11:42 am

Georges Delerue - Le Mépris OST - Camille - 1963

Wikipédia :
Georges Delerue was born 12 March 1925 in Roubaix, France to Georges Delerue and Marie Lhoest. He was raised in a musical household; his grandfather lead an amateur chorale group and his mother sang and played piano at family gatherings. By the age of fourteen he was playing clarinet at the local music conservatory. In 1940 he was forced to abandon his studies at the Turgot Institute in order to work at a factory to help support his family. He continued playing clarinet with local bands, eventually transitioning to piano under the instruction of Madame Picavet-Bacquart. He studied Bach, Mozart, Beethoven, Chopin, and Grieg, and was particularly inspired by Richard Strauss. Following a long convalescence after being diagnosed with scoliosis, Georges decided to become a composer.

In 1945, following his studies at the Roubaix conservatory, Delerue was accepted into the Conservatoire de Paris, where he studied fugue with Simone Plé-Caussade and composition with Henri Büsser. To help support himself, he took jobs playing at dances, baptisms, marriages, and funerals—even performing jazz in the piano bars near the Paris Opera. In 1947 he received an honorable mention for the Rome Prize, and the following year he won the Second Grand Rome Prize. That year at the Theater Festival of Avignon, Delerue conducted a performance of Scheherazade. In the 1949 Rome Prize competition, he won the First Second Grand Prize, and the First Prize for Composition. He began writing stage music during the late 1940s, including for the Théâtre National Populaire, Comédie-Française and the company of Jean-Louis Barrault. He also became friends with Maurice Jarre and Pierre Boulez.

By the early 1950s Delerue was composing music for short films and writing theatrical music for the Théâtre Babylone and the Opéra Comique. He began collaborating with Boris Vian on a number of projects during this time, including theatrical adaptations of The Snow Knight and The Builders of Empire, an oratorio A Regrettable Incident, and a ballet The Barker. In 1952 he began directing the orchestra of the Club d'Essai for French National Radio and Television, and scored his first television drama Princes du sang. In 1954 he wrote his first compositions for historical spectacles of light and sound, Lisieux and The Liberation of Paris. In 1955 he composed his Concert Symphony for Piano and Orchestra, and on 31 January 1957 his opera The Snow Knight premiered at Nancy and was a popular success. In 1959 he composed his first score for a feature film, Le bel âge.

His career was diverse and he composed frequently for major art house directors, most often François Truffaut (including Jules and Jim), but also for Jean-Luc Godard's film Contempt (Le Mépris), and for Alain Resnais, Louis Malle, and Bernardo Bertolucci, besides working on several Hollywood productions, including Oliver Stone's Platoon and Salvador.

He composed the music for Flemming Flindt's ballet, Enetime (The Lesson), based on Ionesco's play, La Leçon. During his 42 years career he put his talent to the service of nearly 200 feature movies, 125 short ones, 70 TV films and 35 TV serials. The soundtrack for war docudrama by Pierre Schoendoerffer, Diên Biên Phu (1992), was one of the late notable works.

Delerue made cameo appearances in La nuit americaine and Les deux anglaises et le continent.

According to many testimonies he would do and redo some cues to fit the new editing of a sequence without any protestation. He insisted on being allowed to orchestrate and conduct himself in order to polish every detail. Georges Delerue had a great talent for melody and for creating surrounding overtones which encapsulated the spirit of the movies on which he collaborated, enhancing them often beyond the expectations of their directors.

Georges Delerue died on 20 March 1992 from a heart attack in Los Angeles at the age of 67, just after recording the last cue for the soundtrack to Rich in Love. He is buried in Forest Lawn Memorial Park Cemetery in Glendale, California. He left behind his wife, Micheline Gautron, whom he married in 1959, and his daughter Claire.
Plot
American film producer Jeremy Prokosch (Jack Palance) hires respected Austrian director Fritz Lang (playing himself) to direct a film adaptation of Homer's Odyssey. Dissatisfied with Lang's treatment of the material as an art film, Prokosch hires Paul Javal (Michel Piccoli), a novelist and playwright, to rework the script. The conflict between artistic expression and commercial opportunity parallels Paul's sudden estrangement from his wife Camille Javal (Brigitte Bardot), who becomes aloof with Paul after being left alone with Prokosch, a millionaire playboy.

While founded on Alberto Moravia's story of the progressive estrangement between a husband and wife, Godard's version also contains deliberate parallels with aspects of his own life: while Paul, Camille, and Prokosch correspond to Ulysses, Penelope, and Poseidon, respectively, they also correspond in some ways with Godard, his wife Anna Karina (his choice of female lead), and Joseph E. Levine, the film's distributor. At one point, Bardot dons a black wig which gives her a resemblance to Karina. Michel Piccoli also bears some resemblance to Brigitte Bardot's ex-husband, the filmmaker Roger Vadim.

Also notable in the film is a discussion of Dante – particularly Canto XXVI of Inferno, about Ulysses' last fatal voyage beyond the Pillars of Hercules to the other side of the world – and Friedrich Hölderlin's poem, "Dichterberuf" ("The Poet's Vocation").

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Romain
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Re: France - One song per day.

Post by Romain » Thu Jul 10, 2014 12:06 pm

Next post.

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Romain
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Re: France - One song per day.

Post by Romain » Thu Jul 10, 2014 12:14 pm

Philippe Chatel - J't'aime bien Lili - 1977

Artist Biography by Jason Birchmeier (Allmusic)

Phillipe Chatel is a French singer, songwriter, composer, and guitarist best known for the 1979 musical recording Émilie Jolie featuring Georges Brassens, Françoise Hardy, Julien Clerc, Sylvie Vartan, Eddy Mitchell, and other French superstars of the era. Born on February 23, 1948, in Paris, France, he began his recording career in the early '70s with a series of 7" singles on the label Pathé. Later in the decade he moved to RCA Victor and began releasing a series of full-length recordings that span the late '70s and early '80s, including Analyse (1977), Salut au Temps Qui Passe (1978), Sentiments (1978), Maquillages (1981), Les Aventures de Tom Tom Tommy (1982), Yin Yang (1982), and Peau d'Âme (1984), plus the latter-day effort Anyway (1990). Some of his most popular singles include "J't'aime Bien, Lili" (1977), "Miste Hyde" (1978), "Ma Lycéenne" (1978), and "Tout Quitter, Mais Tout Emporter" (1981), all of which were released during his tenure at RCA Victor from 1977 until 1981. His tenure at CBS thereafter proved less successful. The highlights of his four-year tenure at RCA Victor have been compiled on a variety of greatest-hits collections over the years, including Paroles et Musique (1979), Enregistrement Public (1981), Ses Plus Grands Succes (1999), and Passé Composé (2003). Chatel's best-known achievement, Émilie Jolie, was revived from time to time, including a 1980 television adaptation. A 1997 cast recording was released in 1999 and proved highly popular in the French-language world, reaching number 12 on the French albums chart and number 14 on the Belgian albums chart.
J´t´aime bien Lili
Pour tous les livres que tu lis,
J´t´aime bien Lili
J´t´aime bien au lit, j´t´aime bien au lit aussi,
Tu es le i du mot ma nuit, du mot ma vie
Tu es le i du mot ma nuit, du mot ma vie aussi.

J´t´aime bien Lili
Pour toutes les bêtises que tu dis,
J´t´aime bien Lili
Quand tu m´ennuies, quand tu m´ennuies aussi,
Tu es le i du mot ma nuit, du mot ma vie
Tu es le i du mot ma nuit, du mot ma vie aussi.

J´t´aime bien Lili
Quand tu rentres trop tard et qu´tu m´souris, Lili
C´est pas la pluie, c´est lui.

J´t´aime bien Lili
Bien qu´on n´aura jamais les mêmes jeudis, Lili, Lili, Lili,

J´t´aime bien Lili,
Mais j´ai du mal à vivre cette vie,
Entre le silence et l´oubli
J´attends mon paradis.
T´es pas le i de mon logis, de mon abri
Tu es le i du mot ami, du mot ennemi aussi.

J´t´aime bien Lili
Quand tu rentres trop tard et qu´tu m´souris, Lili
C´est pas la pluie, c´est lui.

J´t´aime bien Lili
Bien qu´j´sois pas l´seul à qui tu dises oui, Lili, Lili, Lili

J´t´aime bien Lili
Quand on est tous les deux la nuit
J´t´aime bien Lili
J´t´aime bien au lit, j´t´aime bien au lit aussi,
Tu es le i du mot désir, du mot envie,
Et c´est pour ça que j´reste là, que j´reste ici, Lili.

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Romain
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Re: France - One song per day.

Post by Romain » Fri Jul 11, 2014 3:53 pm

NExt one.

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Romain
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Re: France - One song per day.

Post by Romain » Fri Jul 11, 2014 4:07 pm

Olivia Ruiz - J'traîne des pieds - 2005

Artist Biography by Jason Ankeny (Allmusic)

Folk-punk chanteuse Olivia Ruiz vaulted to stardom in her native France with the 2003 release of her debut LP, J'aime Pas l'Amour. Born January 1, 1980, in Carcassonne, she was the daughter of musician Didier Blanc, making her professional debut at 12 with the Médiévales troupe and at 15 co-founding the rock group Five. After earning a degree in communications from the University of Montpellier, Ruiz auditioned for the inaugural series of the French television amateur showcase Star Academy. Despite leaning more toward indie rock than mainstream pop, she nevertheless advanced to the semifinals. Ruiz issued her debut single, "Paris," in mid-2002.
J'aime Pas l'Amour, which enlisted contributions from French alt-rock stars including Weepers Circus, Nery, and Philippe Prohom, followed more than a year later, selling more than 50,000 copies. The subject of the 2003 television documentary Olivia Ruiz, Star'activiste, she toured until mid-2005, finally issuing her sophomore album, La Femme Chocolat, at year's end. The lead single, "J'traîne des Pieds," proved a blockbuster hit, and the LP was named Album of the Year at the annual Victoires de la Musique honors. 2007 saw the release of Ruiz first live album, Chocolate Show: Live, which was recorded at the Cirque d'Hiver in Paris.

Three years after the release of her sophomore album, La Femme Chocolat, Ruiz released her third studio album, Miss Météores in 2009. In a conscious move away from her Star Academy beginnings, the album saw Ruiz work with longtime partner Mathias Malzieu as well as The Noisettes, Lonely Drifter Karen and rapper Toan. The live release Miss Météores Live quickly followed in 2010.
J'traînais les pieds, des casseroles
J'n'aimais pas beaucoup l'école
J'traînais les pieds, mes guiboles abîmées
J'explorais mon quartier

J'traînais des pieds dans mon café
Les vieux à la belotte braillaient
Papi, mamie, tonton André et toutes ces pépées
A mes p'tits soins, à m'pouponner

Ecorché mon visage, écorchés mes genoux
écorché mon p'tit coeur tout mou
bousillées mes godasses, bousillé sur ma joue
bousillées les miettes de nous

La fumée du boeuf bourguignon
Toute la famille tête dans l'guidon
Du temps où ont pouvaient faire les cons
Les pensionnaires, les habitués, les gens d'passage surtout l'été
Joyeux bordel dans mon café

Ecorché mon visage, écorchés mes genoux
écorché mon p'tit coeur tout mou
balayée la terrasse, envolé le bout d'chou
envolées les miettes de nous

Je traîne les pieds, j'traîne mes casseroles
J'n'aime toujours pas l'école

Ecorché mon visage, écorchés mes genoux
écorché mon p'tit coeur tout mou
bousillées mes godasses, bousillé sur ma joue
bousillées les miettes de nous

I would drag my feet and my saucepans
I didn't like school that much
I would drag my feet with my aching legs
Exploring my neighborhood

I would drag my feet across my cafe
Old people would be yelling while playing Belote
Grandpa, Grandma, uncle André and all those biddies
Pampering and babying me

Grazed is my face, grazed are my knees
Grazed is my soggy little heart
Busted are my shoes, busted on my cheek
Busted are our leftovers

The Beef Bourguignon's steam*
The whole family running the Tour
At the time when we could play the fools
Residents and regulars
Short-stay guests, especially in summer
Quite a happy mess in my cafe!

Grazed is my face, grazed are my knees
Grazed is my soggy little heart
Swept is the terrace, all in the past is the "tiny tot"
All in the past are our leftovers

I drag my feet, I drag my saucepans
I still don't like school

Grazed is my face, grazed are my knees
Grazed is my soggy little heart
Busted are my shoes, busted on my cheek
Busted are our leftovers

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Romain
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Re: France - One song per day.

Post by Romain » Sat Jul 12, 2014 3:12 pm

Next one.

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Re: France - One song per day.

Post by Romain » Sat Jul 12, 2014 3:24 pm

Doc Gynéco - Nirvana - 1996

Album : Première consultation

Artist Biography by Chris True (Allmusic)

Born Bruno Beausir on July 7, 1974, Doc Gyneco is a Guadeloupean/French ragga/rap/hip-hop artist who got his start at the age of 19 with the hip-hop outfit Ministère AMER. The group split soon after, and Gyneco signed a solo deal with Virgin France. His debut for the label, 1996's Premiere Consultation, which was the result of recording and writing in Los Angeles with the American producer Ken Kessie, turned out to be magic in France, scoring a number of hit singles. Liaisons Dangereuses, his second full-length, was released in 1998, and continued his streak of well-received albums. In 2001, after a rather long layoff, Gyneco returned with the guest star-heavy (Wu-Tang members, Gregory Isaacs) third long-player Quality Street. Although up until this point Doc Gyneco's albums sold well and kept him in the public consciousness, his singles never really passed muster with the pop public, and his reputation was more well-known for his stance on the status of women, whom he (seemingly) did not hold in that high of regard. Charges of misogyny aside, Gyneco pressed further onward, and in 2002 finally found a winning formula with the album Solitaire. The singles were hits, and the album won the Victoire de la Musique award for Best Hip-Hop/Rap Album of the Year. While the next few years would be relatively quiet for the MC -- aside from some controversial political statements and stances -- Doc Gyneco did manage a best-of collection in 2004 and a new album, entitled Homme Nature, in 2006. Peace Maker was released in 2008.
Je sors de chez moi, salut mon gars,
Tu sors de prison, dis moi comment ça va?
Tu veux que je t'enregistre les nouveaux sons,
Le dernier Ministère et la première consultation.
Tu veux être à la page avant de rejoindre l'entourage,
De ceux qui boivent du douze ans d'âge.
Prisonnier du quartier, pis dans la fonse-dé,
Plus rien ne m'étonne, plus rien ne me fais bander.
Depuis que j'ai la tête collé sur un pochette,
Certaines font semblant de ne pas me reconnaître.
D'autre me guettent, s'entêtent, m'embêtent,
Alors je les pètent...
Et tout est si facile quand on marche dans sa ville,
Même les bleus pour moi sont en civile.
Je veux changer d'air, changer d'atmosphère,
Je vais me foutre en l'air comme Patrick Devers.
Me droguer aux aspirines, façon Marilyn,
Hooo..... faut que je me supprime.

{Refrain:}
Comme Beregovoy, aussi vite que Senna,
Je veux atteindre le nirvana.
Comme Beregovoy, clic clic boum!
Aussi vite que Senna,
Je veux atteindre le nirvana.

C'est donc ça la vie, c'est pour ça qu'on bosse,
Voir son gosse trainer dans le quartier.
Dans une poche les feuilles OCB,
Dans une chausette la boulette à effriter.
Un cage d'escalier et le tout est roulé,
Mais stone, le monde est stone,
Y a plus de couche d'ozone,
Les seins des meufs sont en sillicone.
Tu rêves de pez, fini le guez.
1 2 3 tu m'emmènes avec toi,
4 5 6 cueillir du vice,
7 8 9 dans ton cabriolet neuf.
J'ai connu les bandes, les gang,
Les meufs de gang bang, et les gros bang.
Bang dans la tête de mes amis,
N'y pense même pas si tu tiens à ta vie.
J'ai troqué ma famille, contre ces amis,
Et je me moque de ton avis.
Je veux me doper à la Maradona,
Car je suis triste comme le clown Zavatta.

{au Refrain}

Le docteur ne joue plus au fraudeur,
J'achète des tickets par simple peur
D'avoir à buter un contrôleur.
je flirt avec le meurtre, je flirt avec mon suicide.
Vive le volontaire homicide.
Je ne crois plus en Dieu et deviens nerveux.
Allah, Krichna, Bouddah ou jéovah,
Moi j'opte pour ma paire de Puma.
Elle guide mes pas à pas,
J'ai fait le bon choix, et j'y crois.
Je n'ai pas touché, mais caressé tous mes rêves,
Je demande une trêve, le Doc est en grève.
Plus rien ne me fais kiffer,
Plus rien ne me fais marrer.
De la fille du voisin, je suis passé
À de jolies mannequins très convoités.
Ma petite amie, elle est belle, elle est bonne,
Elle s'appelle Brendy Kylnone, si tu veux je te la donne.
Car plus rien ne m'étonne.
J'en ai marre des meufs,
J'en ai marre des keufs.
C'est toujours la même mouille,
Toujours les mêmes fouilles.

{au Refrain}

I left my home, hey guys
You left prison, tell me what's up?
You want me to record your new sounds,
The last ministry and the first consultation
You want to be in the know before joining the circle
of those who've been drinking since they were twelve
Prisoner of the area, worse when you're stoned
Nothing left to surprise me, nothing else makes me bend
Since I've got my head stuck in a bag
Some pretend they don't know me
Others keep an eye on me, they persist, they annoy me
So I bust them
And everything's so easy when we walk in our city
Even the rookies are civil for me
I want to change the air, change the atmosphere,
I'm gonna fuck myself up like Patrick Devers
Dope myself up with aspirin, like Marilyn
Hooo...gotta top myself

{Refrain:}
Like Beregovoy, fast as Senna,
I want to reach nirvana
Like Beregovoy, click click boom!
Fast as Sena,
I want to reach nirvana

So that's it, life, that's why we work
See his kid dragging in the neighborhood
In a pocket, OCB* papers
In a sock, a ball to crumble
A stairwell and everything is rolled up
But stone, the world is stone,
There's no more ozone layer
Chicks' boobs are silicone
You're dreaming of cash, finished the beer
1 2 3 you're taking me with you
4 5 6 pick up some vice
7 8 9 in your new convertible
I knew the cliques, the gangs
The gang bang chicks, and the big bangs
Bang in my friends' heads
Don't even think about if you care about your life
I traded my family, against these friends
And I don't care about your opinion
I want to dope myself up like Maradona,
Cause I'm sad like the Zavatta clown

{to refrain}

The doctor isn't playing anymore with the cheater
I'm buying tickets out of simple fear
Of having to kill an inspector
I flirt with murder, I flirt with my suicide
Long live voluntary homicide
I don't believe in God anymore and become nervous
Allah, Krishna, Buddha or Jehovah
I opt for my pair of Pumas
Guides me step by step
I made the right choice, and I believe
I haven't touched, but caressed all my dreams
I ask for a truce, the Doc's on strike
Nothing else makes me like
Nothing else makes me laugh
From the neighbor's girl, I'm gone
To the pretty coveted models
My girlfriend, she's beautiful, she's good
Her name's Brendy Kylnone, if you want I can give her to you
Cause nothing else surprises me
I'm sick of chicks
I'm sick of cops
It's always the same soaking wet
Always the same searches

Thanks to lievre on LyricsTranslate.
Last edited by Romain on Wed Oct 26, 2016 1:14 pm, edited 3 times in total.

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Honorio
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Re: France - One song per day.

Post by Honorio » Sun Jul 13, 2014 7:57 pm

Sorry for lasting so much, Romain, but I hope it's not too late to say how I love this thread. You are doing a perfect showcase of the music of your country. I particularly like the wide variety, with songs from every era and every style. Well, maybe not every style, there's little hardcore-punk. A French song on this style that I (absolutely) love is "Aujourd'hui, maintenant" by Expérience, a band probably more known in Spain than in France. So I decided to post this song using your format, I even translated to English the lyrics and the French Wikipedia entry (please, dear French friends, feel free to correct the mistakes I did for sure).
PS: Nassim, I'm sure you will like this one!!


Expérience - Aujourd'hui, maintenant - 2001

Album: Aujourd'hui, maintenant. LP

Biography (Wikipédia):

Expérience is a French rock band formed in 2000 by Michel Cloup, ex-Diabologum.
The band was initially composed by Michel Cloup (guitar, voice and samples), Francisco Esteves (bass), Patrice Cartier (drums) and Widy Marché (guitar). Widy Marché left the band in 2006 to pursue another music projects.
Their music mixes pure rock and electronica, where the lyrics hold a special place. They performed more than 150 gigs in France, Spain, Belgium, Italy, Switzerland and Russia.

Discography:
Aujourd'hui maintenant (2001)
Hémisphère gauche (2004)
Positive Karaoke With a Gun/Negative Karaoke With a Smile (2005)
Nous (en) somme encore là (2008)


Tu te souviens de nous, étudiants
Je veux dire "inscrits" pour la sécurité sociale et les tarifs réduits
De nos 30m² pour 1420 Francs
En prime le papier-peint pourri qui fout le camp
De ces soirées interminables
Des spaghetti pour 10
Des tâches de vin sur le canapé
Je passe les cendriers ?

Tu te rappelles la distribution des prospectus
A l'entrée du parking
"Promo sur les autoradios"
De ces gamins qui démarraient des BMW
Sans en avoir les clés
Puis d'un signe de la main
"Dégagez !" ?

Qu'est-ce qu'on est con à 20 ans
C'est clair
Mais quel plaisir on y prend !
Tu te rappelles ?
Toujours à contredire
Nous deux contre la terre entière
Ce qui me rassure
On est capables d'en faire autant

Aujourd'hui, maintenant
Aujourd'hui, maintenant, maintenant

C'est clair
On a aussi pris de grosses claques
De celles qui foutent en l'air, qui marquent
De celles qui font du mal aux convictions
C'est sûr
On n'a pas été gâtés
Regarde ce qu'ils nous ont laissé
De vieux restes d'idéologie
Qu'on a toutes vu se planter

D'entrée on était vaccinés contre l'espoir naïf
L'optimisme creux, les lendemains qui chantent
Les jours heureux
On n'a pas lâché l'affaire pour autant
Il y a encore plusieurs sujets sur lesquels
On est restés intransigeants
On rêvait de dangers permanents
De prises de risque perpétuelles
Et quand vient la peur de la routine
Des habitudes
Au quotidien, la lassitude
J'ai envie de te dire
"Regarde : on est vivants !"
J'ai l'impression que ça suffit
Pour faire de nous des débutants
Il y a tant de choses que nous n'avons pas vues
Tant de choses que nous n'avons pas encore vécues
Ensemble
ou séparément
Ensemble !

Aujourd'hui, maintenant
Aujourd'hui, maintenant, maintenant !
Aujourd'hui, maintenant
Aujourd'hui,
Maintenant!


Do you remember when we were students?
I mean registered by the social security with reduced rate
Of our 300 sq ft for 300 dollars
As a bonus the decayed wallpaper coming unstuck
These interminable evenings
Spaghetti for 10
Wine stains on the couch
I pass the ashtrays

Do you remember the delivery of leaflets
At the parking entrance?
"Special offer on car radio"
These brats that started the BMWs
Without the keys
Then a hand sign
"Released!"

You are dumb when you're twenty
It's clear
But you get a lot of pleasure!
Do you remember?
Always against the tide
The two of us against the whole world
This reaffirms that
We are able to do it again

Today
Now
Today
Now, now

It's clear
We also received big slaps
The ones that spoil, that left a mark
The one that damage the beliefs
That's sure
We have not been indulged
Look at what they left to us
Old leftovers of ideology
That we saw going down

First we were vaccinated against the naïve hope
The hollow optimism, the brighter days to come
The happy days
But we did not throw in the towel so far
There are still a lot of subjects about
We are intransigent
We dreamt of permanent dangers
Of perpetual risk taking
And when the fear of routine comes
Fear of habits,
Of everyday life, the weariness
I have the urge to say you
"Look: we're alive!"
I got the feeling that it's enough
To make us beginners again
There are so many things we haven't seen
So many things we haven't lived
Together
Or alone
Together!

Today, now
Today, now, now!
Today, now
Today,
Now!



As a bonus, a fantastic live version:

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Romain
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Re: France - One song per day.

Post by Romain » Mon Jul 14, 2014 2:16 pm

Hey Honorio, thnak you a lot, and of course, you are welcome to post what you love here. As you see, I try to put all the period and a lot of style but I don't know every style...by far.
For the song you posted, I did not know the band... but, for what I see, it's like Noir Désir isnt'it ? But whatever, I like your choice.

And now, something completly different.

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Romain
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Re: France - One song per day.

Post by Romain » Mon Jul 14, 2014 2:27 pm

Olivier Messiaen - Fête des belles eaux - 1937 - Classical


Because I love Messian AND the Ondes Martenot :mrgreen:

Wikipédia:

Olivier Messiaen (French: [ɔlivje mɛsjɑ̃]; December 10, 1908 – April 27, 1992) was a French composer, organist and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically it often uses modes of limited transposition, which he abstracted from his early compositions and improvisations. Messiaen also drew on his Roman Catholic faith for his pieces.

He travelled widely and wrote works inspired by diverse influences such as Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi. He said he perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia in its literal manifestation); combinations of these colours, he said, were important in his compositional process. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many exotic musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).

Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité in Paris in 1931, a post held until his death. He taught at the Schola Cantorum de Paris during the 1930s. On the fall of France in 1940, Messiaen was made a prisoner of war, during which time he composed his Quatuor pour la fin du temps ("Quartet for the end of time") for the four available instruments—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941, and professor of composition in 1966 at the Paris Conservatoire, positions he held until his retirement in 1978. His many distinguished pupils included Pierre Boulez, Karlheinz Stockhausen and Yvonne Loriod, who became his second wife.

He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.

Fête des belles eaux is a 1937 composition by French composer Olivier Messiaen. The work is scored for six ondes martenots and was commissioned for the 1937 Paris Exhibition. The work was written to accompany the movement of the fountains at the Exhibition.


Ondes Martenot :
The ondes Martenot (/ˈoʊnd mɑrtɨˈnoʊ/ or ohnd mar-tə-noh; French: [ɔ̃d maʁtəno], "Martenot waves"), also known as the ondium Martenot, Martenot and ondes musicales, is an early electronic musical instrument invented in 1928 by Maurice Martenot. The original design was similar in sound to the theremin. The sonic capabilities of the instrument were later expanded by the addition of timbral controls and switchable loudspeakers.

The instrument's eerie wavering notes are produced by varying the frequency of oscillation in vacuum tubes. The production of the instrument stopped in 1988, but several conservatories in France still teach it.

In 1997, the Ondéa project began designing an instrument based on the ondes Martenot. Since the Martenot name is still protected, the new instrument is called Ondéa, but has the playing and operational characteristics of the original ondes Martenot. In 2001, a completed prototype was first used in concerts. These instruments have been in regular use since 2005.

Since 2008, Jean-Loup Dierstein, with the support of Maurice Martenot's son, has been developing a new, officially named ondes Martenot instrument based on the model used when production stopped in 1988.

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Pierre
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Re: France - One song per day.

Post by Pierre » Mon Jul 14, 2014 6:00 pm

Romain wrote:For the song you posted, I did not know the band... but, for what I see, it's like Noir Désir isnt'it ? But whatever, I like your choice.
Romain, Expérience is Michel Cloup's band. In the 90s there was a French indie rock band called Diabologum, which drew influences from noise rock or stuff like Pavement and hardcore and is now a cult band, especially for their third album. After the band broke up, one of the members, Michel Cloup, formed Expérience, which was slightly more melodic, while another member of the band, Arnaud Michniak, went on to form a harder band called Programme.

Alongside the more well-known Dionysos and the lesser-known Mendelson, Diabologum and its two spin-offs form somewhat the core of the French indie rock scene from the second half of the 90s and the early 00s, but critics have yet to shed some light on this scene (except for Dionysos who broke into the mainstream) ;)

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Re: France - One song per day.

Post by Romain » Mon Jul 14, 2014 7:30 pm

Oh ! I have Diabologum in my list of artist to published here, but I didn't know the leader have another band.
Thank you.

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Re: France - One song per day.

Post by Romain » Tue Jul 15, 2014 11:55 am

Isabelle Adjani - Pull Marine - 1983

Album : pull Marine

Artist Biography by Chris True (Allmusic)

One of the most recognizable names in French cinema, Isabelle Adjani was born on June 27, 1955 in Paris, France. She got her start as a stage actress with the Comédie Française, but left in 1972 to pursue higher goals in the world of film. From her first big screen appearance (1974's La Gifle) it was apparent that hers was a talent that would go nearly unmatched in her home country for a long time. She won her first Oscar and César nominations for her next film, François Truffaut's 1975 film L'Histoire d'Adèle H., and then went to star in a number of films in both France and Hollywood -- including Nosferatu (1979), Bronte Sisters (1979), Possession (1981), Ishtar (1987), Diabolique (1996), and Bon Voyage (2003), eventually winning four (a record) César awards. In 1983 Adjani also took the French pop world by surprise, releasing a million selling album, which contained the single "Pull Marine," which was written by the legendary Serge Gainsbourg.

J'ai touché le fond de la piscine
Dans le petit pull marine
Tout déchiré aux coudes
Qu'j'ai pas voulu recoudre
Que tu m'avais donné
J'me sens tellement abandonnée

Y'a pas qu'au fond de la piscine
Que mes yeux sont bleu marine
Tu les avais repérés
Sans qu'il y ait un regard
Et t'avais rappliqué
Maintenant je paie l'effet retard

Avant de toucher le fond
Je descend à reculons
Sans trop savoir ce qui se passait dans le fond

C'est plein de chlore au fond de la piscine
J'ai bu la tasse tchin tchin
Comme c'est pour toi je m'en fous

Je suis vraiment prête à tout
T'avaler que m'importe
Si on me retrouve à moitié morte

Noyée au fond d'la piscine
Personne ne te voyait
Sous mon petit pull marine
M'enlacer j't'embrassais
Jusqu'au point de non retour
Plutôt limite de notre amour

Avant de toucher le fond
Je descends à reculons
Sans trop savoir ce qui se passait dans le fond
Viens vite au fond de la piscine
Repêcher ta petite sardine
L'empêcher de se noyer
Au fond de toi la garder
Petite soeur traqueuse
De l'air de ton air amoureuse

Si nous deux c'est au fond dans la piscine
La deux des magazines
Se chargera de notre cas
Et je n'aurai plus qu'à
Mettre des verres fumés
Pour montrer tout ce que je veux cacher

Retrouve-moi au fond d'la piscine
Avant qu'ça m'assassine
De continuer sans toi
Tu peux compter sur moi
J'te referai plus l'plan d'la star
Qui a toujours ses coups de cafard

J'ai touché le fond de la piscine
Dans ton petit pull marine


I touched the bottom of the pool
In the little navy sweater
All torn at the elbows
Which I did not want to mend
Which you had given me
I felt so forsaken

Is that not the bottom of the pool
That my eyes are navy blue
You had noticed them
Without a glance
And you had reapplied
Now I pay the delayed effect

Before touching the bottom
I go down backwards
Without knowing what was going on at the bottom

It’s full of chlorine at the bottom of the pool
I drink the cup, clink clink
As for you, I could care less

I am truly ready for anything
To swallow you, I don’t mind
If I am retrieved half dead

Drowned at the bottom of the pool
Nobody saw you
Under my little navy sweater
Hold me, I am kissing you
Until the point of no return
Rather than limit our love

Before touching the bottom
I go down backward
Without knowing what happened in the depths
Come quickly to the bottom of the pool
To recover your little sardine
To keep her from drowning herself.
In the depths of your heart you keep
A little sister who seeks
The look on your loving face

If we both are in the depths of the pool
Both of the magazines
Will look after our case
And I will nevermore
Put on dark glasses
To show all that I want to hide

Find me in the depths of the pool
Before it kills me
To go on without you
You can count on me
I’ll remake you to be more like a star
Who always has these bouts of blue

I touched the bottom of the pool
In your little navy sweater

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

Post by Romain » Wed Jul 16, 2014 11:32 am

Today, a new band.

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Re: France - One song per day.

Post by Romain » Wed Jul 16, 2014 11:39 am

The Moving Gelatine Plates - The world of genius Hans - 1972

Album : The world of genius Hans

Artist Biography by Andrew Helminger (Allmusic)

Although England was one of the more fertile grounds for progressive rock in the early '70s, continental Europe was also home to many groups that contributed to the genre. The Moving Gelatine Plates were one of the more innovative bands to come out of France during the period. The band's music was marked by shifting themes and alternating rhythms that were often delivered at a frantic pace. Like the groups from England's Canterbury scene, The Moving Gelatine Plates were also heavily influenced by jazz.

The Moving Gelatine Plates were formed by guitarist Gerard Bertram and bassist Didier Thibault, who met at school in Paris during the mid-'60s. Both men were enamored with the psychedelic sounds of bands like the Doors and the Yardbirds and the duo soon created a group called the Lines. After a series of drummers came and left the Lines, Michel Coulon joined the group. Coulon's arrival marked a shift in sound to a more experimental approach. Coulon also brought the band a new name, The Moving Gelatine Plates, a phrase he discovered while reading Steinbeck.

Coulon eventually left the band in search of a more profitable career. He was replaced by drummer Gerard Pons, whose formal music training meshed with the band's new experimental direction. Maurice Helmlinger, who played saxophone, trumpet, flute, and organ, soon completed the lineup.

In 1970, The Moving Gelatine Plates coaxed their way onto the stage at a music festival in Le Bourget, France. The band members couldn't afford tickets to the festival, which featured headliners such as Pink Floyd, so The Moving Gelatine Plates played for free in exchange for admission to the other shows. Their performance on a smaller stage in front of 400 people was such a success that the band was asked to play on the main stage for a crowd of 5,000. The Moving Gelatine Plates' appearance at Le Bourget brought them attention from the music press and the band soon had a cult following even though they hadn't released any albums. Their growing reputation also brought them attention from CBS Records, who offered them a contract. At the time, the band turned down the offer because of fears they would have to make their sound more commercial.

After problems getting an album recorded through a minor label, The Moving Gelatine Plates finally signed with CBS in 1971. The band's debut, The Moving Gelatine Plates, was recorded in only six days and CBS released the album in 1971 with little promotion. Despite record sales of only 10,000 copies, The Moving Gelatine Plates received a positive response from fans and the press.

Augmented by a group of session musicians, The Moving Gelatine Plates returned to the studio at the end of 1971 to record their second album, The World of Genius Hans. The album was released on CBS in 1972, but distribution and promotion problems once again plagued record sales. Like their debut album, The World of Genius Hans received a warm response from the few critics and listeners who heard it.

As a result of poor record sales, equipment expenses, and the band's inability to book shows, The Moving Gelatine Plates were soon in debt. Pons eventually had to sell his drums and gave up music altogether. The other members continued with new drummer Alain Clarel, but the band's financial woes quickly resulted in their breakup.

Thibault reformed The Moving Gelatine Plates in 1978 with all new members and renamed the band Moving. In 1980, the group released a self-titled album, featuring guest musician Didier Malherbe of Gong, on the small AMO label. This version of the band folded in 1981.



Review by Andrew Helminger

On their second album, the Moving Gelatine Plates revisit much of the musical territory established on their debut. The World of Genius Hans is a solid offering of jazz-influenced progressive rock, but it gives the impression that the band used up their best ideas on their first record. Many of the melodies aren't as alluring as those on the debut, and others sound like half-hearted rehashes of earlier songs. One example is the title track, in which the band recycles a theme from "Gelatine" off of their debut. Despite these flaws, The World of Genius Hans does have some redeeming moments. "Moving Theme" blows by with shifting tempos and frantic melodies simultaneously delivered by saxophone and electric guitar. While most of the album moves along at a more modest pace, this track captures the energy that made their debut so impressive. The Moving Gelatine Plates also begin to incorporate more elements into their music that are akin to German Krautrock. The snarling distortion and atonal percussive elements on tracks like "We Were Lovin' Her," as well as the vocal stylings throughout the album, bring to mind German bands like Faust and Amon Duul II. Although The World of Genius Hans isn't quite as fresh or engaging as the band's debut, it does make for a better listen than much of the like-minded progressive rock from the period.
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Re: France - One song per day.

Post by Romain » Thu Jul 17, 2014 2:00 pm

Today, a young band.

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Re: France - One song per day.

Post by Romain » Thu Jul 17, 2014 2:10 pm

Dorian Pimpernel - OVLAR E - 2014

Album : Allombon


Olivier Lamm (Born Bad Records) - "Promotional text".

So what’s the purpose of pop music in 2014? It fills our head with silly things, It makes us better. Sometimes, it invents a little. Sometimes, it steals away from the past; sometimes it makes pristine copies from things we like. Sometimes, it guides us, sometimes it tortures us. Sometimes it makes us ecstatic. More than often, it disgusts us, and it demeans us, too.

But one thing it does less than occasionally is making us dream, eyes open or eyes closed. Psychedelia is at a standstill, ecstasy is no longer effective on anyone, the terras incognitas of yore are squared from the Wild West to the Land of the Rising Sun and great songwriters are working for nobody as nobody is there to listen to their songs anymore. As for the great magicians of pop music, the children of George Martin, David Vorhaus, Syd Barrett or Don Van Vliet who used to command us in our dreams using potions, spell books and mirrors, they all went underground: if pop music’s most beautiful race ever – the esoteric one – is still practiced by some, it is done so in secret laboratories and underground corridors that are buried deeper than those of garage rock, punk or black metal.

A secret society of diligent practitioners of the cabalistic part of pop music for an eternity, Dorian Pimpernel only seems to be working with one goal in mind: restart the Machine that once made us dream and go into ecstasy. Formed in the mid-2000s, it’s a gathering of odd balls only: one discreet drummer who claims to be “captivated by Ancient Greece”; a songwriter who’s also a philosophy scholar and the author of a book on the aesthetics of the Minimalists; an actor – director – assistant-director – composer of film music; an actor-bass player and record collector who you would be advised not to try and silence one he’s begun to list of favorite artists (he claims to have “more memories than if he were a thousand years old”); eventually a guitar player who played his guitar for a very long time locked up in his room “without thinking he would one day have the guts to leave”.

Far from the old habits of your ol’ band of mates who migrate from the living-room to the practice room after a nice chat over a handful of favorite records, Dorian Pimpernet gathered around a general disinterest for sport and a strange concept of pop (in the strong sense of the word “concept”, that would have approved Gilles Deleuze had he shown a stronger interest in pop music): “moonshine pop”, i.e. the esoteric, whimsical, volatile, evil little sister of the famous “sunshine pop” of California.

Founder of this aesthetic movement at a time when he was sole member of the Dorian Pimpernel Club, Johan Girard explains: “At the time, in the mid 2000s, I has this habit of listening to records of sunshine pop on repeat. And I had this idea of taking the notion backwards, attempt a sketch of its underside, but without distance, easy postmodern irony or cheap revivalism. The idea was to come up with something modern, which wouldn’t be a mere update of ancient forms through the flavor of the day, but a method to create an actual world by assembling gradually, brick by brick, tone by tone, the shades and intentions designed to inhabit it.”

After a first attempt at an album for a label at the other end of the world (Hollandia, released on the Japanese label Rallye in 2006) which we can now judge, in hindsight, as more embryonic than its follow-up, Allombon creates an actual world for us to live in, and wishes us to sink so deep into it that only our dreams and nightmares shall be deep enough to accommodate its creatures, chants, architectural works.

Similar to the half magic, half-literary, half alchemical treatises, half tomes of poetry of the Renaissance, Allombon creates a complex and coherent world, every song of which is both a fragment and a complex whole to unfold, simultaneously autonomous and potentially able to make us see it in full and tragically flawed, poetically empowered with the sentiment of the loss of the worlds that lie next. Together or separately, every one of those ten songs thus deserves its own exegesis, its own footnotes, and all your attention.

But we should also inform the listeners who don’t care much for encyclopedias and prefer to visit mazes without a plan that they have an absolute right to stay in the dark. And if what they will hear on their way into the the unknown may sound dense, non-linear and foliated to their hears, it will most of all sound melodious and wonderful.

If our five freaks are practitioners of a dark secret doctrine, they are first and foremost believers of the power of the great pop melody. And if their art is esoteric in any way, it is in that of Alice in Wonderland, using gentleness and vivid colours. Inspired first and foremost by the first wave of scholar psychedelia (Sgt Peppers, SF Sorrow, An Electric Storm by White Noise, The United States of America by The United States of America), then by the Second wave which stormed during the 70s (“building bridges between Canterbury and Düsseldorf” – that is to say between Kevin Ayers and Kraftwerk – is one of their few self-avowed projects), then by the big, more or less famous names of library and film of the golden age era (Morricone, Basil Kirchin …), eventually by the thousands of haunted instruments (rare or very rare synths, old guitars) that populate their curiosity cabinet shaped studio, Dorian Pimpernel have only one stated goal: give rise to tornadoes to carry us someplace else.

Promoters of a kind of of Hauntology à la française (let us remember that the Anglo-Saxon version of hauntology covers, through its memories of witches and dust, Ballard and archaic electronics, one of the most mysterious musical scenes of our time), Dorian Pimpernel aims, to quote Ludwig Wittgenstein about his architectural works, “talk, perhaps unconsciously, an ancient language, but to speak it in such a way that make it belong to the new world, without forcing it to belong to the latter’s taste”. What Dorian Pimpernel are putting forward is, like the British band Broadcast before them, a music that is nostalgic only on the surface of its surface, and true to the essence of its time. Meaning: ambiguous both in terms of sounds and intentions, flashing, multiple, but also, more importantly, instantaneously enjoyable, smooth, poisonous, damn beautiful. The good news for those in a hurry, is that this sophomore album dressed in the costume of a debut one deals only with thematics of adult music (all the songs deal with lost illusions and paths which lead nowhere) and takes the shape of a manifest.


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Re: France - One song per day.

Post by Romain » Fri Jul 18, 2014 12:09 pm

A great composer today.

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Re: France - One song per day.

Post by Romain » Fri Jul 18, 2014 12:21 pm

Michel Legrand - Les moulins de mon coeur - 1969


Legrand was born in Bécon les Bruyères, near Paris, France. His father Raymond Legrand was a conductor and composer renowned for hits such as Irma la douce, and his mother was Marcelle Der Mikaëlian (sister of conductor Jacques Hélian), who married Legrand Senior in 1929. His maternal grandfather was of Armenian descent, from the Armenian bourgeoisie.

Legrand has composed more than two hundred film and television scores and several musicals and has made well over a hundred albums. He has won three Oscars (out of 13 nominations) and five Grammys and has been nominated for an Emmy. He was twenty-two when his first album, I Love Paris, became one of the best-selling instrumental albums ever released. He is a virtuoso jazz and classical pianist and an accomplished arranger and conductor who performs with orchestras all over the world.

He studied music at the Paris Conservatoire from 1943-50 (ages 11–18), working with, among others, Nadia Boulanger, who also taught many other composers, including Aaron Copland and Philip Glass, and Ástor Piazzolla. Legrand graduated with top honors as both a composer and a pianist.

Legrand has also contributed significant work in jazz. While on a visit to the U.S. in 1958, Legrand collaborated with such musicians as Miles Davis, John Coltrane, Bill Evans, Phil Woods, Ben Webster, Hank Jones, and Art Farmer in an album of inventive orchestrations of jazz standards titled Legrand Jazz. The following year, back in Paris with bassist Guy Pedersen and percussionist Gus Wallez, he recorded an album of Paris-themed songs arranged for jazz piano trio, titled Paris Jazz Piano. Nearly a decade later he recorded At Shelly's Manne-Hole (1968), an exciting live trio session with bassist Ray Brown and drummer Shelly Manne, in which four of the compositions were improvised on the spot. Legrand also provided an odd scat vocal on "My Funny Valentine." Legrand returned to his role as jazz arranger for the Stan Getz album Communications '72 and resumed his collaboration with Phil Woods on Jazz Le Grand (1979) and After the Rain (1982); then, he collaborated with violinist Stephane Grappelli on an album in 1992. Not as well received as his earlier work in the field of jazz was a 1994 album for LaserLight titled Michel Plays Legrand. More recently, in 2002, he recorded a masterful solo jazz piano album reworking fourteen of his classic songs, Michel Legrand by Michel Legrand. His jazz piano style is virtuosic and eclectic, drawing upon such influences as Art Tatum, Erroll Garner, Oscar Peterson, and Bill Evans.

A number of his songs, including "What Are You Doing the Rest of Your Life?," "Watch What Happens," "The Summer Knows," and "You Must Believe in Spring," have become jazz standards covered frequently by other artists.

Legrand is known principally as a composer of innovative music for films, composing film scores (about two hundred to date) for directors Jean-Luc Godard, Richard Brooks, Claude Lelouch, Clint Eastwood, Robert Altman, Joseph Losey, and many others. Legrand himself appears and performs in Agnès Varda's French New Wave classic, Cleo from 5 to 7 (1961). After his songs appeared in Jacques Demy's films The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1966), Legrand became famous worldwide. The Umbrellas of Cherbourg was a sung-through musical in which all the dialogue was set to music, a revolutionary concept at the time.

Hollywood soon became interested in Legrand after The Umbrellas of Cherbourg, bombarding him with requests to compose music for films. Having begun to collaborate with Hollywood, Legrand continued to work there for many years. Among his best-known scores are those for The Thomas Crown Affair (1968), which features the hit song "The Windmills of Your Mind", and Summer of '42 (1971), which features another hit song, "The Summer Knows." Legrand also wrote the score for Orson Welles's last-completed film, F for Fake (1974).


The song :

"The Windmills of Your Mind" is a song with music by French composer Michel Legrand and English lyrics written by Americans Alan Bergman and Marilyn Bergman. The French lyrics, under the title "Les moulins de mon cœur", were written by Eddy Marnay. The song (with the English lyrics) was used as the theme for the 1968 film, The Thomas Crown Affair. The opening two melodic sentences were borrowed from Mozart's second movement from his Sinfonia Concertante for Violin, Viola and Orchestra, K. 364[citation needed].

In the original 1968 film, the song was performed by Noel Harrison who took the song to #8 in the UK Singles Chart. It won the Academy Award for Best Original Song in 1968. A version by Sting was used in the 1999 remake of The Thomas Crown Affair.

Cover versions
The song has been covered by some orchestras and a large number of singers, in English and in other languages. Dusty Springfield's version of the song from her album Dusty in Memphis is well known; this version reached #31 on the US Billboard Hot 100 chart and #3 on the Billboard adult contemporary chart in 1969. This recording also appeared on the soundtrack to Breakfast on Pluto (2006). Petula Clark's recording of the song is heard in the movie Killing Them Softly, Spanish version by the Mexican singer Rosario De Alba in 1968.

"The Windmills of Your Mind" has also been recorded by All Angels, Tina Arena, Lill-Babs (in Swedish as "Vinden I Min Själ", Pedro Biker (da), John Davidson, Neil Diamond, Val Doonican, Sinne Eeg, Esthero, Connie Evingson, José Feliciano, Earl Grant, Terry Hall of the Colourfield, Jack Jones, Kiri Te Kanawa, The Anita Kerr Singers, Michel Legrand, Barbara Lewis, Gloria Loring, Arthur Lyman, Sally Ann Marsh, Maureen McGovern, Meck, Farhad Mehrad, Eva Mendes, Alison Moyet, Elaine Paige, Parenthetical Girls, Dianne Reeves, Rita Reys, Jimmie Rodgers, the Sandpipers, Sharleen Spiteri, Johnny Mathis, Barbra Streisand, Swing Out Sister, Take 6, Grady Tate, Billy Paul, Vanilla Fudge, Vassilikos, Helena Vondráčková, and Edward Woodward.

A French language rendering: Les Moulins de mon cœur'' (lyrics by Eddy Marnay), has been recorded by Frida Boccara, Grégory Lemarchal, Natalie Dessay, Didier Barbelivien, Amaury Vassili, Dany Brillant, Claude François, Noëlle Cordier, Michel Legrand, Caterina Valente, Jessye Norman and Julia Migenes.

"The Windmills of Your Mind" has been recorded in German by Udo Lindenberg on his 1997 album Belcanto as "Unterm Säufermond", and in Dutch by Herman van Veen as "Cirkels" on his album "Alles" in 1971.

Instrumental versions of "The Windmills of Your Mind" were recorded by Henry Mancini and James Last. An arrangement for 16 Harps was recorded under the direction of Geoffrey Simon for a CD entitled "The London Harp Sound."

It was performed on the episode shown on 26 November 1977 of the second season of The Muppet Show.
The song was adapted, orchestrated and conducted by Oussama Rahbani into the Arabic version "La Bidayi Wala Nihayi" and sung by Hiba Tawaji.
Comme une pierre que l´on jette
Dans l´eau vive d´un ruisseau
Et qui laisse derrière elle
Des milliers de ronds dans l´eau
Comme un manège de lune
Avec ses chevaux d´étoiles
Comme un anneau de Saturne
Un ballon de carnaval
Comme le chemin de ronde
Que font sans cesse les heures
Le voyage autour du monde
D´un tournesol dans sa fleur
Tu fais tourner de ton nom
Tous les moulins de mon cœur

Comme un écheveau de laine
Entre les mains d´un enfant
Ou les mots d´une rengaine
Pris dans les harpes du vent
Comme un tourbillon de neige
Comme un vol de goélands
Sur des forêts de Norvège
Sur des moutons d´océan
Comme le chemin de ronde
Que font sans cesse les heures
Le voyage autour du monde
D´un tournesol dans sa fleur
Tu fais tourner de ton nom
Tous les moulins de mon cœur

Ce jour-là près de la source
Dieu sait ce que tu m´as dit
Mais l´été finit sa course
L´oiseau tomba de son nid
Et voila que sur le sable
Nos pas s´effacent déjà
Et je suis seul à la table
Qui résonne sous mes doigts
Comme un tambourin qui pleure
Sous les gouttes de la pluie
Comme les chansons qui meurent
Aussitôt qu´on les oublie
Et les feuilles de l´automne
Rencontre des ciels moins bleus
Et ton absence leur donne
La couleur de tes cheveux

Une pierre que l´on jette
Dans l´eau vive d´un ruisseau
Et qui laisse derrière elle
Des milliers de ronds dans l´eau
Au vent des quatre saisons
Tu fais tourner de ton nom
Tous les moulins de mon cœur

Like a pebble that one tosses in a living, swirling stream
And the thousand circles spreading on the water as it flows
Like the starry horses spinning on the moon’s merry-go-round
Like the flattened rings of Saturn, or a carnival balloon
Like the circle path that’s followed by the hours without end
Like the journey ’round the world of a sunflower in bloom
You set spinning by your name all the windmills of my heart

Like a skein of yarn unraveled by the small hands of a child
Or the words to an old favorite on the soft harps of the wind
Like the snow caught in a whirlwind, like the seagulls’ wheeling flight
Over Norway’s towering pine trees, over white-capped ocean waves
Like the circle path that’s followed by the hours without end
Like the journey ’round the world of a sunflower in bloom
You set spinning by your name all the windmills of my heart

God remembers what you told me by the flowing stream that day
But the summer has an ending, young birds fall from out their nest
And already, see! our footprints growing fainter in the sand
I’m alone now at the table which my fingers set to sound
Like a tambourine that cries beneath the drops of falling rain
Like the songs which pass away upon having been forgot
And the early Autumn leaves, encountering skies of lesser blue
Are now painted, by your absence, in the colors of your hair

Like a pebble that one tosses in a living, swirling stream
And the thousand circles spreading on the water as it flows
With each changing season’s winds, you set spinning by your name
All the windmills of my heart

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Re: France - One song per day.

Post by Romain » Sat Jul 19, 2014 3:07 pm

Today, a comedy song.

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Re: France - One song per day.

Post by Romain » Sat Jul 19, 2014 3:17 pm

Les Inconnus - Auteuil, Neuilly, Passy - 1991

Les Inconnus ("The Unknowns") are a French trio of humorists: Didier Bourdon, Bernard Campan and Pascal Légitimus. While their first successes were on stage, they are most famous for their satirical sketch comedy television show La Télé des Inconnus, which premiered in 1990 and remained popular throughout the early 1990s. Following their television success, the group began to make music and movies, most of them written and directed by Bourdon and Campan. After the movie Les Trois Frères in 1995, the trio encountered contract problems with their manager Paul Lederman, which caused the group to split up, though there have been several films that have featured at least two former members together.

The comedy troupe that would become Les Inconnus was formed in 1984. At its founding, the group had five members (Didier Bourdon, Bernard Campan, Pascal Légitimus, Seymour Brussel, and Smaïn) and was known as "Les Cinq" (The Five). Les Cinq starred in the 1985 movie Le Téléphone Sonne Toujours Deux Fois ("The Telephone Always Rings Twice"), but shortly afterward Smaïn left the group to pursue solo work. Down to four members, the group changed its name to "Les Quatre Quarts" (a pun in French: literally meaning "The Four Quarters," it is also the word for pound cake). In 1986 they met a new manager, Paul Lederman, who began to lead the troupe to larger and larger venues. At about this time the group's name was changed to "Les Inconnus" (The Unknowns). After hosting a radio show on Europe 1 from 1987 to 1988, Les Inconnus lost another member, Seymour Brussel, who left to join another comedy group, Les Nuls. They eventually reached national fame with their 1989 stage comic show "Au secours, tout va mieux!" (literally "Help, things are getting better!").

In 1990, the three remaining members of the group premiered their sketch comedy television show, "La Télé des Inconnus." The show, which ran for two years on Antenne 2 (now France 2), was highly successful, and propelled the group to stardom throughout France. Their sketches parodied a number of French cultural icons, including musicians Richard Clayderman, Mano Negra, Indochine, Didier Barbelivien, Florent Pagny, and Patrick Bruel; and television shows Bioman, Club Dorothée, and Santa Barbara. They also satirized French politicians, police, trade unions, and society at large. The program won two Septs d'Or (the top French television award), and a video clip from the show, "Auteuil, Neuilly, Passy," won two Victoires de la Musique.

In 1995, Les Inconnus made their first film in ten years, Les Trois Frères ("The Three Brothers"). The film was highly successful, winning the César Award for best début, but due to contract disputes with their manager Paul Lederman, the group was forced to disband after the film's release. Bourdon and Campan starred in two other movies together, Le Pari ("The Bet"), L'Extraterrestre ("The Extraterrestrial"), before Légitimus rejoined them for their final film together, Les Rois Mages (The Magi), in 2001. Only Bourdon and Légitimus starred in Madame Irma in 2006.

The Song :
"Auteuil, Neuilly, Passy (rap BCBG)" is a song recorded by the satiric group Les Inconnus in 1991. Released as a single from their album Bouleversifiant, it achieved great success in France, reaching number one on the national singles chart.
After their success with many sketches, Les Inconnus decided to release this single, their biggest success, which is actually a humorous sketch. The group used music by Maceo Parker in the song without his permission; as a result, they had legal problems due to copyright issues. The song has rap and R&B sounds, and is punctuated by many "Salut ! Tu - vas - bien ?".

The song is about the life of fictitious youngsters from the upper class singing rap on their allegedly difficult lives.

The song was one of the biggest hits of 1991 in France. It debuted at #2 on June 8, and managed to reach #1 three weeks after, where it stayed for four not successive weeks. The single remained in the top ten for a total of 18 weeks, and in the Top 50 for 21 weeks.

It was certified Gold disc by the SNEP, the French certificatior, for a minimum of 500,000 copies sold. According to Infodisc website, 428,000 copies of the song were sold, making the hit the 747th best-selling single of all time in France.

The chorus is:
Auteuil, Neuilly, Passy, c'est pas du gâteau ;
Auteuil, Neuilly, Passy, tel est notre ghetto
In English:
Auteuil-Neuilly-Passy, it ain't a piece of cake ;
Auteuil-Neuilly-Passy, such is our ghetto


Hé mec
J´me présente
Je m´appelle Charles-Henri Du Pré
J´habite à Neuilly
Dans un quartier pas mal paumé
Je suis fils unique
Dans un hôtel particulier
C´est la croix, la bannière
Pour me sustenter.
Pas un Arabe du coin
Ni un Euromarché.

Auteuil, Neuilly, Passy : tel est notre ghetto

Hé mec, mon nom à moi
C´est Hubert Valéry
Patrick Stanislas
Duc de Montmorency
A cinq ans et demi
J´avais déjà ma Ferrari.
J´pouvais pas la conduire
Bien sûr, j´étais trop p´tit!

As-tu saisi mon pote
Notre envie de révolte?
J´ai envie de crier
"Zut, flûte, crotte, chier!"

Auteuil, Neuilly, Passy : c´est pas du gâteau
Auteuil, Neuilly, Passy : tel est notre ghetto.

Salut, tu - vas - bien?
Salut, tu - vas - bien?

Y en a marre du Fauchon
Du Hédiard, du saumon, du caviar

Salut, c´est Patrick
A l´appareil
Ouais, c´est Pat´
Tu vas bien?

Et moi? Et moi?
Tu ne sais pas quelle est ma vie?
A côtoyer Chantal
Ou bien Marie-Sophie
A faire le baise-main
A des pétasses mal baisées
Enfin, j´ai voulu dire
A des filles un peu coincées

Je veux être un voyou
Vrai de vrai hors-la-loi.
Mais quand t´es né ici
Vous n´avez pas le choix.
Y en a marre des Sylvie, des Mylène
Ségolène, Gwendoline, Eglantine,
Marie-Chantal...

Y en a marre, mon frère
On a de gros problèmes
Y en a marre, mon frère
De subir le système.

Mon avenir à moi est déjà tout tracé :
Boîtes privées, Sciences-Po, l´ENA ou H.E.C.
Et dans le pire des cas
Si je n´travaille pas
Faudra que je reprenne
La boîte de papa.

Auteuil, Neuilly, Passy : c´est pas du gâteau
Auteuil, Neuilly, Passy : tel est notre ghetto.

Salut, tu vas bien?

Nous sommes tous les produits
D´une société économique dépendante
Des fluctuations boursières
Qui déstabilisent le marché.
Oui mec!
Et pour sortir de ce carcan
Educatif, capitaliste
Il faut savoir dire non, non, non, mec!

Auteuil, Neuilly, Passy : c´est pas du gâteau
Auteuil, Neuilly, Passy : tel est notre ghetto.

Salut, tu vas bien?

Nous sommes issus d´une famille
Qui n´a jamais souffert
Nous sommes issus d´une famille
Qu´on ne peut plus souffrir...

Bad translation:

EN: Hey dude
EN: I introduce myself
EN: My name is Charles - Henri Du Pré
EN: I live in Neuilly
EN: In a lost neighborhood
EN: I am only son
EN: In a mansion

EN: It is the cross, the banner
EN: To sustain me.
EN: Not an Arab from the corner
EN: Neither a Euromarket.

EN : Auteuil-Neuilly-Passy, such is our ghetto

EN: Hey dude, my name to me
EN: It's Hubert Valéry
EN: Patrick Stanislaus
EN: Duke of Montmorency
EN: At five and a half years
EN: I already had my Ferrari.
EN: I couldn't drive it
EN: Of course, I was too little!

EN: Have you understand my buddy
EN: Our desire to revolt?
EN: I want to shout
EN: "Damn, flute, Booger, shit!"


EN: Auteuil-Neuilly-Passy, it ain't a piece of cake
EN : Auteuil-Neuilly-Passy, such is our ghetto
EN: Hi, you - go - well?

EN: Hi, you - go - well?

EN: Are fed up with the Fauchon
EN: Of Hédiard, salmon, caviar

EN: Hi, this is Patrick
EN: At the device
EN: Yeah, it's Pat'
EN: Are you going well?

EN: And me? And me?

EN: You do not know what is my life?
EN: A drive alongside Chantal
EN: Or well Marie-Sophie
EN: Do the hand kissing
EN: At some sluts badly fucked

EN: Finally, I wanted to say
EN: At girls a bit stuck
EN: I want to be a thug
EN: True true outlaw.
EN: And when you're born here

EN: You do not have the choice.
EN: Are tired of Sylvie, and Mylène
EN: Ségolène, Gwendoline, Eglantine,
EN: Marie-Chantal...

EN: Is fed up, my brother
EN: Therebig problems
EN: Is fed up, my brother
EN: To the system.

EN: My future to me is everything already traced:
EN: Private boxes, Sciences-Po, the ENA or H.E.C.
EN: And in the worst cases
EN: If I'm not working
EN: Need I to resume
EN: The Daddy company.

EN: Auteuil-Neuilly-Passy, it ain't a piece of cake
EN : Auteuil-Neuilly-Passy, such is our ghetto
EN: Hi, you going well?

EN: We are all products
EN: A dependent economic society
EN: Stock market fluctuations
EN: That destabilize the market.

EN: Yes dude!

EN: And out of this straitjacket
EN: Educational, capitalist
EN: You need to know to say no, no, no, dude!

EN: Auteuil-Neuilly-Passy, it ain't a piece of cake
EN : Auteuil-Neuilly-Passy, such is our ghetto
EN: Hi, you going well?

EN: We come from a family
EN: Who has never suffered
EN: We come from a family
EN: What we can no longer suffer...

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Re: France - One song per day.

Post by Romain » Sun Jul 20, 2014 3:12 pm

Houra for the 10 000 views and thanks for those who look this thread. I hope some of you spotted interesting and pleasant songs.

Your opinion interest me about the kind of music you would like to find here and your favorite songs in your findings.

Thanks to you.

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Re: France - One song per day.

Post by Romain » Sun Jul 20, 2014 3:36 pm

Gabriel Fauré - Élégie pour violoncelle et piano, op 24 - 1880

Wikipédia :
Gabriel Urbain Fauré (French: [ɡabʁiɛl yʁbɛ̃ fɔʁe]; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.

Fauré was born into a cultured but not especially musical family. His talent became clear when he was a small boy. At the age of nine, he was sent to a music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, Fauré was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime.

Fauré's music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré's death, jazz and the atonal music of the Second Viennese School were being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations influenced the teaching of harmony for later generations. During the last twenty years of his life, he suffered from increasing deafness. In contrast with the charm of his earlier music, his works from this period are sometimes elusive and withdrawn in character, and at other times turbulent and impassioned.

Violoncelle et piano :
Violoncelle et orchestre :

The Élégie (Elegy), Op. 24, was written in 1880, and first published and performed in public in 1883. Originally for cello and piano, the piece was later orchestrated by Fauré. The work, in C minor, features a sad and sombre opening and climaxes with an intense, fast-paced central section, before the return of the elegiac opening theme.

In 1880, having completed his First Piano Quartet, Fauré began work on a cello sonata. It was his frequent practice to compose the slow movement of a work first, and he did so for the new sonata. The completed movement was probably premiered at the salon of Camille Saint-Saëns in June 1880. The movement, like the quartet, is in the key of C minor. Whether the rest of the sonata would have been in that key is unknown: Fauré never completed it, and in January 1883 the slow movement was published as a stand-alone piece under the title Élégie.

The first performance of the work under its new title was given at the Société Nationale de Musique in December 1883 by the composer and the cellist Jules Loeb to whom the piece is dedicated. The Élégie was a great success from the outset, and the conductor Édouard Colonne asked Fauré for a version for cello and orchestra. Fauré agreed, and that version was premiered at the Société Nationale in April 1901, with Pablo Casals as soloist and the composer as conductor.

Musical structure
The piece is in the three-part ABA form, in which the musical material of the beginning returns to close the piece after a contrasting middle section. The opening is a sombre, long-breathed melody. The cello carries the main thematic material, with piano providing a harmonically varied accompaniment. In the major-key middle section the piano bears the melodic theme before it passes to the cello. The middle section ends with an forceful passage in which the piano and cello exchange vehement themes. The dynamics remain loud as the first section returns, but the quiet sombreness of the opening soon takes over. The repeated opening theme is matched with some of the rhythmic features carried over from the middle section. The work ends in an atmosphere of calm.

The orchestral version of the work requires two flutes, two oboes, two clarinets, two bassoons, four horns and strings to accompany the cellist.

The Fauré specialist Jean-Michel Nectoux writes that the Élégie was one of the last works in which the composer allowed himself "such a direct expression of pathos". Nectoux regards the piece as "one of the last manifestations of French musical Romanticism. From now on Fauré's music was to be more introverted and discreet."
Last edited by Romain on Mon Jul 21, 2014 3:46 pm, edited 1 time in total.

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Re: France - One song per day.

Post by Pierre » Sun Jul 20, 2014 4:12 pm

Romain wrote:Houra for the 10 000 views and thanks for those who look this thread. I hope some of you spotted interesting and pleasant songs.

Your opinion interest me about the kind of music you would like to find here and your favorite songs in your findings.

Thanks to you.
Romain, once again I must say thank you for your efforts to showcase artists from our country. I'm impressed by how you try to encompass all genres, from chanson to rock, but also including film music and classical music! Although I will say I don't often listen to the classical music entries, not because I think your choices are wrong, but because I don't like classical music much.

I will just have one downside to my enthusiasm: hip-hop and electronic music have been less represented than they deserve to in my opinion, but I guess that's unsurprising since I think you said you were not as knowledgeable in this style as for the rest. Maybe the Excel file I dropped somewhere in the topic might include a few starter ideas? ;)

Also, I will leave a sidenote about video game music. I don't believe I'm very knowledgeable about it yet, but I've been trying to have it get some recognition, like every genre it's a forest that hides its gems. France actually do have a few composers, the most recognised being Christophe Héral. Other French composers include Olivier Derivière, Philippe Vachey, Raphaël Gesqua or Pierre Estève. I have yet to fully explore the genre, but all in all, these names might be starting points if other people are interested!

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Re: France - One song per day.

Post by Romain » Mon Jul 21, 2014 11:37 am

Pierre wrote: Romain, once again I must say thank you for your efforts to showcase artists from our country. I'm impressed by how you try to encompass all genres, from chanson to rock, but also including film music and classical music! Although I will say I don't often listen to the classical music entries, not because I think your choices are wrong, but because I don't like classical music much.

I will just have one downside to my enthusiasm: hip-hop and electronic music have been less represented than they deserve to in my opinion, but I guess that's unsurprising since I think you said you were not as knowledgeable in this style as for the rest. Maybe the Excel file I dropped somewhere in the topic might include a few starter ideas? ;)

Also, I will leave a sidenote about video game music. I don't believe I'm very knowledgeable about it yet, but I've been trying to have it get some recognition, like every genre it's a forest that hides its gems. France actually do have a few composers, the most recognised being Christophe Héral. Other French composers include Olivier Derivière, Philippe Vachey, Raphaël Gesqua or Pierre Estève. I have yet to fully explore the genre, but all in all, these names might be starting points if other people are interested!
Thanks Pierre... for Hip-Hop and electronic... I will try to put more. And I have download your excel file some weeks ago.
And for the video game music, why not ! Thank you for the names of the composers.

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Re: France - One song per day.

Post by Romain » Mon Jul 21, 2014 11:42 am

Mr Oizo - Flat Beat - 1999

Album : Analog Worms Attack

Artist Biography by John Bush (Allmusic)

Though it's a sure bet he'll linger in the minds of most only for his omnipresent Levi's advert and 1999 European chart-topper "Flat Beat," music-video director Quentin Dupieux turned in some excellent electronic productions as Mr. Oizo. Far from the madding crowds of ad-oriented hipster trance or jungle, "Flat Beat" was a midtempo techno production with heavily distorted effects and a playful nature that fit perfectly with the visual focus, a sock puppet. While still a teenager, Dupieux began directing short films for French television, and turned in no less than eight works between 1994 and 1998. His associations with the music world began in 1997, when leading French dance citizen Laurent Garnier serendipitously bought a car from Dupieux's father. Dupieux directed the video for Garnier's "Flashback" single, as well as the long-form video Nightmare Sandwiches starring and featuring music by Garnier. That year, he also moved into music production, with his debut single "#1" appearing on Garnier's F Communications label. After the video he (naturally) directed for second single "M-Seq" landed on an ad-agency desk, he was tapped to direct the commercial that launched Levi's vaunted non-denim line of trousers. The eccentric advert -- featuring a puppet named Flat Eric maniacally bobbing his head to the music in the passenger seat of a Chevelle while a nonplussed human driver concentrated on the road -- soon became famous across Europe, and the single (also on F Communications) hit number one all across the continent. (It eventually sold over two million copies.) The obligatory full-length, Analog Worms Attack, followed in October, and earned American distribution early the following year. Dupieux also directed the video for "Party People" by Alex Gopher. After taking some time off to update his studio from analog to digital, his computer-driven album Moustache (Half a Scissor) arrived in 2005. A year later he signed with Ed Banger, with the Transexual EP following on the label in 2007. The album Lambs Anger landed in 2008 as the most dance-oriented Oizo album to date, and featured guest artist Uffie. After working on Uffie's 2010 debut album, Sex Dreams and Denim Jeans, Dupieux returned to his Oizo project with the 2011 effort Stade 2, an album that brought back some of the dissonance and glitch. Film work occupied the next few years as Dupieux directed Wrong (2012) and Wrong Cops (2013), both of the films accompanied by Mr. Oizo soundtracks.

The album debut for Quentin Dupieux may not have received worldwide distribution had it not been for its most publicized track, the notorious Levi's advert and crossover hit named "Flat Beat." But it's doubtful Dupieux will turn into a one-hit wonder -- and if he does, there's always his directing career -- since Analog Worms Attack is an inventive album that somehow marries the experimental side of techno (Cristian Vogel, Laurent Garnier) with the outrageous flair of novelty tracks usually seen on, well, television commercials. Even including "Flat Beat" (which was wisely added only as a bonus track), the highlights are "Monophonic Shit" and "No Day Massacre," two tracks that blend surprisingly deep grooves and oddball effects. It's not so much a sense of humor that Dupieux displays here; it's closer to the playful side of quasi-pop electronica fashioned by Mouse on Mars and Like a Tim. Fans of the trademarked "Flat Beat" sound will find much to love as well ("Smoking Tape" and "Flat 55" are most similar to the hit), making Analog Worms Attack a left-field treat for both pop-culture seekers and genuine music fans.


The song :
"Flat Beat" is a song by French house musician Mr. Oizo. It was featured as a bonus track on his debut album Analog Worms Attack. An accompanying music video was released on VHS. The music video features Flat Eric, a puppet, head banging to the track. Widely publicized by Flat Eric's appearance in many commercials for Levi's and the popularity of the music video, the track reached number 1 in the UK Singles Chart for two weeks in April 1999. The track is instrumental and is one of twenty-five instrumental UK number-one singles. It is also considered one of the earliest instances of electro house.

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Re: France - One song per day.

Post by Pierre » Mon Jul 21, 2014 1:21 pm

Romain wrote: Thanks Pierre... for Hip-Hop and electronic... I will try to put more. And I have download your excel file some weeks ago.
And for the video game music, why not ! Thank you for the names of the composers.
You're of course very welcome Romain, and as I said all those were merely suggestions. It's just that I'm myself trying to taste everything, although I'm more inclined toward recent music styles. Thanks again for your work!

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Re: France - One song per day.

Post by Romain » Tue Jul 22, 2014 11:06 am

Michel Fugain - Une belle histoire - 1972

Album : Fugain et le big bazar

Artist Biography by Olivier Duboc (Allmusic)

French singer-songwriter Michel Fugain (born in Grenoble, France, 1942) was best known for his early 70s outings with Big Bazar, which singles Fais comme l'oiseau or Une belle histoire were instant hit Hippie tunes. Letting down his medical studies, he moved to Paris to become a songwriter in 1964, penning songs for well selling artists such as Dalida or Hugues Auffray. In 1972, he formed the hippie collective set of artists and musicians Big Bazar, before leaving it in 1976 to create a new collective under his own name, La Compagnie Michel Fugain. After a 70s peak, his career went on at a slower pace, until he quit the music business consequently to the loss of his daughter Laurette in 2002. In 2005, TV channel M6 offered him a comeback with ‘Attention Mesdames et Messieurs' (one of his many hit singles' title), but Fugain quickly lost interest in it, feeling betrayed and hurt. As for a cleansing purpose, he released Bravo et merci in 2007, comprised a covers of his favourite artists' songs, from Charles Aznavour to Maxime LeForestier, which tasted like a farewell album.

C'est un beau roman, c'est une belle histoire
C'est une romance d'aujourd'hui
Il rentrait chez lui, là-haut vers le brouillard
Elle descendait dans le midi, le midi
Ils se sont trouvés au bord du chemin
Sur l'autoroute des vacances

C'était sans doute un jour de chance
Ils avaient le ciel à portée de main
Un cadeau de la providence
Alors pourquoi penser au lendemain

Ils se sont cachés dans un grand champ de blé
Se laissant porter par les courants
Se sont racontés leur vies qui commençaient
Ils n'étaient encore que des enfants, des enfants
Qui s'étaient trouvés au bord du chemin
Sur l'autoroute des vacances
C'était sans doute un jour de chance
Qui cueillirent le ciel au creux de leurs mains
Comme on cueille la providence
Refusant de penser au lendemain

C'est un beau roman, c'est une belle histoire
C'est une romance d'aujourd'hui
Il rentrait chez lui, là-haut vers le brouillard
Elle descendait dans le Midi, le Midi

Ils se sont quittés au bord du matin
Sur l'autoroute des vacances
C'était fini le jour de chance
Ils reprirent alors chacun leur chemin
Saluèrent la Providence
En se faisant un signe de la main

Il rentra chez lui, là-haut vers le brouillard
Elle est descendue là-bas dans le Midi
C'est un beau roman, c'est une belle histoire
C'est une romance d'aujourd'hui

It's a beautiful novel, it's a beautiful story
It's a romance of nowadays
He was returning home, high up there in the fog
She was going down to the 'midi' (noon = southern France), the midi
They found each other on the side of the road
On the highway of holidays

It was without doubt a day of luck
They had the sky within the reach of their hands
A present/gift of destiny
So why think about the day after (this one)

They hid in a large field of wheat
Allowing themselves to be carried away by the winds
They told each other about their lives which were about to begin
They were still children, children
That had found each other on the side of the road
On the highway of holidays
It was without a doubt a day of luck
That they collected the sky into the palms of their hands
Like you pick collect destiny
Refusing to think of the day after (this one)

It's a beautiful novel, it's a beautiful story
It's a romance of nowadays
He was returning home, high up there in the fog
She was going down to the 'noon' (noon = southern France), the noon

They left each other on the brink of the morning
On the highway of holidays
It was over, the holiday
They then took, each their own path
Saluted destiny
By waving to each other

He was returning home, high up there in the fog
She was going down to the 'midi' (noon = southern France)
It's a beautiful novel, it's a beautiful story
It's a romance of nowadays


lyricstranslate.com

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Re: France - One song per day.

Post by Romain » Wed Jul 23, 2014 11:54 am

Next post : nouvelle vague !
P.S. : no, absolutely not nouvelle vague.
Last edited by Romain on Wed Oct 15, 2014 11:20 am, edited 1 time in total.

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Re: France - One song per day.

Post by Romain » Wed Jul 23, 2014 12:10 pm

Elli Medeiros - Toi mon toit - 1986


Elli Medeiros (born 18 January 1956 in Montevideo, Uruguay) is a singer and actress.

Medeiros moved to Paris, France, at the age of 14, dropped out of high school a couple of years later and joined the punk band The Stinky Toys.

After the group disbanded, Medeiros joined another Stinky Toy member Jacno to form the electro-pop duo Elli et Jacno. Together they released several albums, one of them the soundtrack to an Éric Rohmer film Les nuits de la pleine lune.

The singer went solo in 1986. The songs, "Toi mon toit" (1986) and "A bailar calypso" (1987), were big hits in France and had a more Latin sound than her previous records.

She sang back-up vocals on several of pop star Etienne Daho's songs from his 1996 album Eden. She also helped co-write his song "Me manquer" from the same album.

Elli Medeiros appears in a number of French films and has worked with, among others, Olivier Assayas and Philippe Garrel.

(Refrain)
Toi, toi mon toit
Toi, toi mon tout mon roi
Toi, toi mon toit
Toi, toi mon tout mon roi

Prends un petit poisson
Glisse-le entre mes jambes
Il n'y a pas de raison
Pour se tirer la langue
Ne me regarde pas
Comme ça tout de travers
Qui fait le premier pas
Pour s'aimer à l'envers

(Au refrain)

Les papillons en l'air
Et les fourmis par terre
Chacun est à sa place
Il n'y a pas de mystère
Sauf

(Au refrain)

Les papillons en l'air
Et les fourmis par terre
Chacun est à sa place
Il n'y a pas de mystère
Sauf

(Au refrain)

Prends un petit poisson
Glisse-le entre mes jambes
Il n'y a pas de raison
Pour se tirer la langue
Ne me regarde pas
Comme ça tout de travers
Qui fait le premier pas
Pour s'aimer à l'envers

(Au refrain)

(Bis)

Oh you, my roof
Oh you, my everything, my king
Oh you, my roof
Oh you, my everything, my king

Take a little fish
Swipe it between my legs
There's no reason
To stick out our tongues

Don't you look at me
With that filthy look of yours
Who'll take the first step
To make love backwards?

Oh you, my roof
Oh you, my everything, my king
Oh you, my roof
Oh you, my everything, my king

Butterflies in the air
Ants on the ground
Each one is at its place
No secrets are left
except

Oh you, my roof
Oh you, my everything, my king
Oh you, my roof
Oh you, my everything, my king

Stop it! Stop it!

Butterflies in the air
Ants on the ground
Each one is at its place
No secrets are left
except

Oh you, my roof
Oh you, my everything, my king
Oh you, my roof
Oh you, my everything, my king

Take a little fish
Swipe it between my legs
There's no reason
To stick out our tongues

Don't you look at me
With that filthy look of yours
Who'll take the first step
To make love backwards?

Oh you, my roof
Oh you, my everything, my king
Oh you, my roof
Oh you, my everything, my king

Stop it! Stop it!

Lyrics translate
Last edited by Romain on Sat Jul 26, 2014 8:03 am, edited 2 times in total.

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Re: France - One song per day.

Post by Romain » Thu Jul 24, 2014 11:04 am

Next song : a young lady.

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Re: France - One song per day.

Post by Romain » Thu Jul 24, 2014 11:12 am

Keren Ann - La forme et le fond - 2004

Album : Nolita

Artist Biography by Kathleen C. Fennessy (Allmusic)

Singer/songwriter Keren Ann Zeidel, who records bilingual neo-folk music under the name Keren Ann, was born in Israel in 1974 to a Dutch-Javanese mother and a Russian-Israeli father. She was nine when her parents bought her a guitar, on which she learned to play songs by Joni Mitchell and Serge Gainsbourg. In the years to come, she would also learn to play the harmonica and the clarinet. Zeidel and her family, including a brother and sister, lived in Israel and Holland before settling in Paris, France, when she was 11.

In the 1990s, Zeidel met musician/arranger Benjamin Biolay, with whom she would form a fruitful partnership. Later that decade, she had a small part (as Judith) in Alexandre Arcady's K, and in 1998 she released a handful of singles (including "I+I+I") as a member of Shelby. The singles attracted little attention, but Zeidel bounced back by releasing her full-length solo debut, La Biographie de Luka Philipsen, in 2000. On it, she combined trip-hop, folk, and French pop to sublime effect, citing Russian literature, Jewish folk music, French poetry, Bob Dylan, and Suzanne Vega (whose "Luka" is also referenced in the title) as influences for her unique sound.

La Biographie was enthusiastically received in Europe, garnering favorable comparisons to Françoise Hardy, Portishead, Beth Orton, and Dido. In addition, it earned several nominations for the French equivalent of the Grammy, the Victoires, including Best New Discovery (Artist and Album) and Best Song of the Year. One of its songs, "Jardin d'Hiver" (co-written by Biolay) also became a hit for Henri Salvador, whose best-selling album Chambre Avec Vue contained five songs co-written by Zeidel and Biolay.

In 2001, Zeidel returned the favor by assisting with the writing of Biolay's Rose Kennedy. Her follow-up to La Biographie, La Disparition (The Disappearance), came out the following year. She recorded a version in English at the same time. While preparing the album, Zeidel listened to a lot of Beatles, Chet Baker, and Tom Waits recordings, resulting in a bluesier, jazzier sound. As with La Biographie, much of the material was written with Biolay. Late in 2003, the English-language Not Going Anywhere arrived and was distributed by Blue Note in America the following summer.

After relocating to New York, Keren Ann released the half-French, half-English Nolita in 2004, which marked the first time she'd worked without Biolay, choosing instead to write/produce most of the tracks herself. She followed it with a self-titled release in 2007, earning some of the warmest praise of her career in the process. In subsequent years, she composed music for the European TV channel Arte, and wrote and produced for actress, model, and singer Emmanuelle Seigner (the wife of Roman Polanski). In 2011, she returned to her solo career with 101, another self-produced collection of folk, dreamy pop, and French chanson. Keren Ann has also worked with Barði Jóhannsson as Lady & Bird, producing an album in 2003 and a live album with the Iceland Symphony Orchestra in 2009.

Album review :
Review by Thom Jurek (Allmusic)
Keren Ann Zeidel relocated to New York between the release of Not Going Anywhere and Nolita (which, more than anything else, stands for moving just north of Little Italy). Nolita also marks her separation from creative partner Benjamin Biolay. While pre-production for Nolita began in France -- and indeed, half the tracks here are in French -- the album was finished in her new home country. She produced it herself. These songs are different than the hip lullabies of Not Going Anywhere. The music here is breezy still -- there's so much air and whisp in her voice and in the arrangements one can get the impression the music is literally floating by -- but there is weight in the lyrics and in the instrumentation. And while Zeidel's songwriting may be graced by the kisses of many of her influences, from Astrud Gilberto to Joni Mitchell to Serge Gainsbourg and Jane Birkin to Belle and Sebastian, her music here is her own, and it unwraps itself very, very slowly. The French cuts stand out, such as the dreamy, seductive ballad "L'Onde Amere," with Avishai Morin's trumpet playing Chet Baker to her Françoise Hardy. Likewise the Mellotron, bass and electric guitar saunter that introduces "La Forme et le Fond," feels more like samba meets backbeat conscious post-rock at a snail's pace. However, taken as a whole, Nolita is utterly beguiling. It is assured, statuesque, and fully realized. It captures moments, single moments, and stretches them out as it imprints on the mind and in the heart of the listener.

Je traîne mes ailes
Les yeux fermés
Laissant mes plumes
Aux âmes désavouées
Je brise les coeurs
Et les questions
Tout en douceur
Sous la forme et le fond

Je sème le vent, les autans
Et je sauve les apparences
Mais quand je crie, nul n'entend
Nul ne voit à quoi je pense

J'ai bien perdu
Ma peau de fée
Mes tâches de rousseur
Mon air désabusé
J'ai vu passer
Main je n'en vois plus
Des anges paumés
Bien trop souvent déchus

Je sème le vent, les autans
Et je sauve les apparences
Mais quand je crie, nul n'entend
Nul ne voit à quoi je pense

I drag my wings
Closed eyes
Dragging my feather
To the disavowed souls
I break hearts
And the questions
Softly
Under the shape and the substance

I sow the wind, the autans*
And I save appearances
But when I cry, no one hears
No one sees what I'm thinking

I'm well lost
My fairy skin
My freckles
My disillusioned look
I saw the passing
But I don't see anymore
The clueless angels
All too often fallen

I sow the wind, the autans
And I save appearances
But when I cry, no one hears
No one sees what I'm thinking

Lyrics translate.
Last edited by Romain on Sat Jul 26, 2014 5:59 am, edited 1 time in total.

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Re: France - One song per day.

Post by Romain » Fri Jul 25, 2014 11:10 am

Next song : something hot.

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Re: France - One song per day.

Post by Romain » Fri Jul 25, 2014 11:18 am

Jean Yanne - Chobizeness OST - Coït - 1975

Jean Yanne is the artist name of Jean Gouyé (born 18 July 1933 - died 23 May 2003). He was a French actor, writer, film director and composer. He was born in Les Lilas, Seine-Saint-Denis and died in in Morsains (Marne).
Je n'sais pas qui tu es.
Je n'sais pas d'où tu viens.
Je n'connais pas ton nom.
Je n'connais rien de toi.
Je t'ai rencontrée il y a une heure à peine
et depuis une heure, sur cette musique,
nous pratiquons le coït.
Aah..oh oui ! Ooh..oh oui ! oh oui !
Oui, je jouis ! Oui ! Oui, c'est bien . (Coït !)
Oh oui, je viens . Ah je viens bien !
Ah oui ! (Coït !) Oui, je jouis ! Oh oui ! Oh..je jouis ! (Coït !)
Oh..oh oui ! Oui, je jouis ! (Coït !)Oui, oui je jouis !
Aah..oui..ah..oui..(coït !)ah… oui..ha ha… ..(coït !)

Je n'veux pas savoir qui tu es.
Je n'veux pas savoir d'où tu viens.
Je n'veux rien savoir de toi.
Je n'te r'verrais jamais.
Tout à l'heure, je vais partir
et de notre rencontre, il ne restera rien,
rien que le souvenir d'un long,
d'un très long coït…
Aah aaaaaah han… Ah oui ! Oh oui… oh oui je joui-is.
Oui…oui,oui c'est bien. (Coït !) Oui, oui je viens. Ah…je viens bien ! (Coït !)
Aah… oh oui ! Oh oui, je jouis ! (Coït !)Oh oui..Oh oui je jouis !
Ah ah oh oui ! (Coït !) Oh oui je jouis ! Oui je jouis…oui ! (Coït !)
Oui…han han han ho oui ! Oui ! oui.. (Coït !) ha han ha ah ha aaah…
Ah ah.. (Coït !) ah oui…oui…oui han han han han ah han ah …
(Coït ! Coït ! Coït ! Coït !…)

I don't know who you are.
I don't know where you come from.
I don't know your name.
I know nothing about you.
I've met, an hour long
and during that hour, on this music
we practiced coitus.
Aah .. oh yes! Ooh .. oh yes! Oh yeah!
Yes, I enjoy! Yes I do! Yes, it's good. (Coitus!)
oh yes, I'm coming. Ah I'm coming good!
Ah yes! (Coitus!) Yes, I enjoy! Oh yeah! Oh .. I enjoy! (Coitus!)
Oh .. oh yes! Yes, I enjoy! (Coitus!) Yes, yes I enjoy!
Aah .. ah .. yes .. yes .. (coitus!) ... Ah yes .. ha ha ..... (coitus!)

I don't wanna know who you are.
I don't wanna know where you come from.
I don't wanna know anything about you.
I will never see you again.
Soon, I will leave
and of our encounter, nothing will be left,
nothing but the memory of a long,
a very long coitus...
Aah aaaaaah han ... Ah yes! Oh yes ... oh yes I enjoy.
Yes ... yes, yes it's good. (Coitus!) Yes, yes I'm coming. Ah ... I'm coming good! (Coitus!)
Aah ... oh yes! Oh yes, I enjoy! (Coitus!) Oh yes .. Oh yes I enjoy!
Ah ah oh yes! (Coitus!) Oh yes I enjoy! Yes I enjoy ... yes! (Coitus!)
Yes...han han han ho yes! Yes! yes .. (coitus!) ha ha ah ha han ... aaah
Ah ah.. (coitus!) Ah yes ... yes ... yes han han han han han ah ah ...
(Coitus! Coitus! Coitus! Coitus! ...)

Thanks to Grampa Wild Willy and whopla in Translate lyrics
Last edited by Romain on Fri Aug 01, 2014 11:28 am, edited 1 time in total.

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Re: France - One song per day.

Post by Romain » Sat Jul 26, 2014 6:47 pm

Next song : a princess.

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Re: France - One song per day.

Post by Romain » Sat Jul 26, 2014 6:55 pm

Princess Erika - Trop de Bla-bla - 1988

Wikipédia :
Princess Erika (real name Erika Dobong'na, born on 5 April 1964, in Paris) is a French singer and actress with Cameroonian origins. She is particularly known for her ragga songs "Trop de bla-bla" ou "Faut qu'j'travaille".

In 1982, Erika formed with her sisters a band named Blackheart Daughters, then joined the band Princess and the Royal Sound, with whom she made several tours, opening for Jamaican singer Dennis Brown. In 1988, she recorded "Trop de bla-bla" in London and achieved a minor success in France (#39 on the Top 50, but later, the song became famous for being used for a TV advert for MMA). Then, she released the single "Tendresse" and her first album in 1992. She also opened the concerts for Les Négresses Vertes. In 1995, she released her second studio album, D'origine, and the lead single, "Faut qu'j'travaille", hit #15 in France. Two years later, she recorded a duet with Marc Lavoine, "Les Hommes sont des Femmes comme les autres". She participated in Les Enfoirés and wrote several songs for various artists such as "Embrasse-moi" for the Nubians. In 2004, she also participated in the compilation Agir Réagir intended to raise funds to help the Moroccans who lived an earthquake on 24 February 2002. In 2005, she was a contestant on the French TV reality La Ferme Célébrités to bring money for the African association Routes du Sud. She then organized the four editions of the concerts Les Voix de l'espoir, performed with many other artists in a charity goal. She covered the songs "La Vie en rose" and "J'ai encore rêvé d'elle" with Pierpoljak on the cover album Il est 5 heures Kingston s'éveille. She was occasionally actress in films and theatre and played in Le Petit Trésor, with Steevy Boulay and Vincent Azé. Erika had two children : Julien (born in 1982) and Oudima (2003).
Trop de blabla il me dit cet homme là
Trop de tracas j'ai donné déjà
Trop de tracas il me cause cet homme là
Trop de bla bla j'ai donné déjà

En ce temps-là, oui je le dis
La femme prend trop d'assurance
Du moment que, qui c'est elle qui,
Assure le toit et la pitance
En plus dans l'homme, c'est un acquis
La femme n'a plus de confiance
Il traite mal, c'est mon avis
Il la fait souffrir à outrance

Non je ne peux pas écouter des médisances
Et rester dans mon coin à garder le silence
Pourtant ce qu'il aimerait c'est que je perde ma patience
Et alors me reprocher d'être au bord de la délinquance
Mais c'est lui qui par ses fourberies me mène à la déchéance
Non avec cet homme là je perds toute ma prestance
Il dit qu'il est mon prince mais il a des actes de démence
Et comme je le découvre il sombre dans la violence

REFRAIN

Il est temps d'admettre sans cris
Et de reconnaître avec tolérance
Nous portons de trop gros colis
Pour notre petite corpulence,
Ce que je recherche c'est un mari
Qui mène dans la danse
Qui soit fait pas du simili
Celui-là ne me laisse aucune chance
Il dit que je suis mauvaise que je n'ai pas d'intelligence
Mais pourtant nuit et jour il recherche ma présence
Il dit que je lui dois respect et obéissance
Mais pour moi sa conduite n'est qu'une montagne d'incohérence
Je voudrais qu'il me fasse profiter de son expérience
Et non pas qu'il me juge et prononce ma sentence
J'ai besoin de douceur quand j'ai des défaillances
Et non pas des critiques, ni des reproches en permanences

REFRAIN

Et comme l'oiseau fait son nid
Un jour se réduira la distance
L'homme et la femme enfin réunis
Se complèteront dans la différence
Plus de tracas plus de soucis
Plus de pleurs plus de souffrance
Car Jah est grand, Rastafari,
L'amour est sa puissance

(ad lib)

Bla bla bla
Il m'a donné trop de tracas
Bla bla bla
Je ne veux plus de tracas

Too much blabla is what that man tells me
Too much trouble is what I've already given
Too much trouble is what that man causes me
Too much blabla is what I've already given

At that time, yes I told him
A woman becomes too confident
From the moment that, it's she who
Looks after the food and board
While for a man it's a given
A woman no longer has confidence
He treats her badly, that's what I think
He makes her suffer terribly

Non I can't listen to gossip
And stay in the corner keeping silent
However he would love it when I lose my patience
And then scold me for misbehaving
But it's he, who, by his treachery causes me to debase myself
No, with that man I lose all pretenses
He said he's my prince but he commits vile acts
And as I found out he is a violent scumbag

Chorus:
It's time to come clean without shouting
And recognize with tolerance
We carry burdens too heavy
For our little bodies
What I look for is a husband
Who leads in a dance
Who isn't fake
That gives me no chance at all
He says that I'm bad for having no intelligence
But night and day he searches for my presence
He says that I mush respect and obey him
But to me his actions are just a mountain on incoherence
I would like him to let me learn from his experiences
And not judge me and punish me
I need gentleness when I make mistakes
And not endless criticisms and lecturing

Chorus:
And just as the bird makes its nest
A day will shorten the distance
Man and woman will be united
Completing each other in their differences
No more troubles, no more worries
No more tears, no more suffering
For Jah is great, Rastafari
Love is His power

(ad-lib)

Bla bla bla
he gave me too much trouble
Bla bla bla
I don't want any more trouble


Thanks to coqitorx on Lyrics Translate.
Last edited by Romain on Thu Oct 30, 2014 5:21 pm, edited 1 time in total.

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Re: France - One song per day.

Post by Romain » Sun Jul 27, 2014 2:39 pm

Next song : a demon.

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Re: France - One song per day.

Post by Romain » Sun Jul 27, 2014 2:50 pm

Grand Orchestre du Splendid - La Salsa du démon - 1980

(Horreur… Malheur… Aaaah)
Oui, je suis Belzébuth
(Horreur)
Je suis un bouc, je suis en rut
(Horreur, malheur)
Oui, oui, oui, je vis dans l'ordure
(Horreur)
Je pue la sueur et la luxure

Je fume je bois, j'ai tous les vices
Et j'ai du poil partout sur les cuisses
Je vous déteste, je vous maudis
J'suis complèt'ment pourri

Quand j'vois un gosse, j'lui fous une claque
Quand j'vois une vieille j'lui piqu' son sac
Je crache, je rote, rien ne m'arrête
Car aujourd'hui c'est la fête...

C'est la, c'est la, c'est la
Salsa du démon
Salsa du démon
Salsa du démon
Salsa du démon

(Horreur… Malheur… Aaaah)
Oui, c'est moi Vampirella
(Horreur)
Malheur à ceux qui ne m'aiment pas
(Horreur, malheur)
Oui, oui, oui, mon cœur est en fer
(Horreur)
Je fais l'amour comme une panthère

Mes amants, je les écorche vifs
Et je les fouette, je leur coupe le pif
J'fais des trucs cochons avec des chaînes
Aux minets du 16ème

Pourchassant les puceaux en fuite
Le démon du sexe m'habite
Venez là mes petits amis
Car c'est la fête aujourd'hui...

C'est la, c'est la, c'est la
Salsa du démon
Salsa du démon
Salsa du démon
Salsa du démon

(Horreur… Malheur… Aaaah)
Oui, je suis la sorcière
(Horreur)
J'suis vieille, j'suis moche, j'suis une mégère
(Horreur, malheur)
Oui, oui, oui, sur mon balai maudit
(Horreur)
J'aim' bien faire mal aux tous petits

Je fais bouillir des mains de pendus
J'mange des crapauds, des rats tout poilus
J'fais des potions pour séduire les hommes
Puis j'les mords quand ils dorment

Dans ma marmite c'est l'épouvante
Y a des bestioles dégoulinantes
Ce soir j'fais du bœuf au pipi
Car c'est la fête aujourd'hui...

C'est la, c'est la, c'est la
Salsa du démon
Salsa du démon
Salsa du démon
Salsa du démon

(Horror… Misery… Aaaah)
Yes, I am Beelzebub
(Horror)
I am a ram, I am in a rut
(Horror, misery)
Yes, yes, yes, I live in filth
(Horror)
I stink of sweat and lust

I smoke and I drink, I have all the vices
And I have hair all over my tighs
I hate you, I curse you
'Am completly rotten

When I see a kid, I give him a slap
When a see a old lady I steal 'er bag
I spit, I belch, nothing stops me
Cause today it's party time...

It is, it is, it is the
Salsa of the demon
Salsa of the demon
Salsa of the demon
Salsa of the demon

(Horror… Misery… Aaaah)
Yes, it's me Vampirella
(Horror)
Misery to those who don't love me
(Horror, misery)
Yes, yes, yes, my heart is iron
(Horror)
I make love like a panther

My lovers, I flay them alive
And I whip them, I cut their noses
I do dirty things with chains
To the Adonises of the 16ème

Purchasing the fleeing virgins
The demon of sex inhabits me
Come here my little friends
Cause today it's party time...

It is, it is, it is the
Salsa of the demon
Salsa of the demon
Salsa of the demon
Salsa of the demon

(Horror… Misery… Aaaah)
Yes, I am the witch
(Horror)
I'm old, I'm ugly, I'm a crone
(Horror, misery)
Yes, yes, yes, on my cursed broom
(Horror)
I lov' to hurt the little ones
I boil hangmen hands
I eat toads, and hairy rats
I make potions to seduce men
Then I bite 'em when they sleep

In my cauldron it is frightening
There is slimy critters
Tonight I'm cooking beef a la piss
Cause today it's party time...

It is, it is, it is the
Salsa of the demon
Salsa of the demon
Salsa of the demon
Salsa of the demon


Thanks to gregoire.tricoire at Lyrics Translate
Last edited by Romain on Tue Feb 17, 2015 2:07 pm, edited 2 times in total.

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Re: France - One song per day.

Post by Romain » Mon Jul 28, 2014 12:17 pm

Next song : an acclaimed one.

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Re: France - One song per day.

Post by Romain » Mon Jul 28, 2014 12:21 pm

M83 - Midnight City - 2011

Artist Biography by Johnny Loftus (allmusic)

In 2003, Frenchmen Anthony Gonzalez and Nicolas Fromageau enjoyed international acclaim for the album Dead Cities, Red Seas & Lost Ghosts, a luscious blend of shoegaze aesthetics, ambient pop, and progressive textures. But M83 had been releasing material for several years, having issued their self-titled debut through the tiny but taste-making French label Gooom in 2001. The success of Dead Cities, Red Seas brought attention not only to M83, but also to the Gooom label, which helped fuel the popularity of other glitchy, sleek, and vaguely psychedelic artists like Cyann & Ben. Fromageau departed the lineup after the second album, looking to pursue solo work instead, and Gonzalez returned to the studio for a follow-up record.

When Before the Dawn Heals Us appeared in January 2005, the addition of vocals and more consistent rhythms made it M83's most cohesive album yet. After finishing the subsequent tour, Gonzalez recorded Digital Shades, Vol. 1, a set of ambient songs inspired by Brian Eno and Krautrock, which arrived in 2007. Gonzalez then worked with producers Ewan Pearson and Ken Thomas on the critically acclaimed Saturdays=Youth, which was released in April 2008. After extended touring in support of that album, Gonzalez collaborated with producer Justin Meldal-Johnsen, Medicine's Brad Laner, longtime vocalist Morgan Kibby, and Zola Jesus on the sprawling double-disc set Hurry Up, We're Dreaming, which arrived in October 2011.

M83 reached a much wider audience in 2013 when Gonzalez was hired to score the sci-fi blockbuster Oblivion. Director Joseph Kosinski had worked with Daft Punk on the soundtrack to his film Tron Legacy, and was looking for another electronic music group to score the multi-million-dollar Tom Cruise vehicle. Gonzalez's epic, percussion-heavy score, which saw him work with composer Joseph Trapanese and vocalist Susanne Sundfør, was very well-received. That same year, he worked with the same collaborators to score a very different film -- the low-budget French sex comedy You and the Night, which was directed by his brother Yann and starred former Manchester United striker Eric Cantona in one of the lead roles. Marking a new direction for Gonzalez, the score was a mellow, romantic, intimate orchestral offering which paid homage to the French cinema of the '70s.


Review by Heather Phares (allmusic)

M83's lush, expansive sound already made their albums feel twice as big as they were, so an actual double album from Anthony Gonzalez and company was inevitable. However, on Hurry Up, We’re Dreaming, he doesn’t use that extra space to top the widescreen nostalgia of Saturdays = Youth; instead, he fills it with songs that cover more sounds and moods than any of M83's previous work, resulting in a collection of impressionistic moments rather than a grand statement. The album begins with two songs that reaffirm Gonzalez's flair for the unapologetically epic music that makes him a rarity among artists in the 2010s, electronic or otherwise. He recruits Zola Jesus' Nika Roza Danilova for “Intro,” and her unusual mix of frostbitten edge and vulnerable warmth channels the huge emotions Gonzalez favors perfectly. Meanwhile, “Midnight City”’s sleek neon tones show just how far he’s traveled from Saturdays = Youth’s ornate sound. However, the album’s first disc goes even farther afield with the tender piano instrumental “Where the Boats Go”; “Raconte-Moi Un Histoire,” where a child imagines a world where everyone turns into jungle frogs over bouncy synths and guitars, and “Soon, My Friend,” which ends the first half of the album with symphonic grandeur and Beach Boys harmonies. Hurry Up, We’re Dreaming's second disc sounds more traditionally M83, from the triumphant-yet-heartbroken “My Tears are Becoming a Sea” to the thrilling rush of “New Map” and “Steve McQueen.” Despite the sprawl of the album’s size and sounds, Gonzalez holds everything together with wide-eyed enthusiasm. He handles most of the vocals here, singing with a yelp that evokes Howard Jones on “Reunion” and “OK Pal” -- and while this album is as indebted to the ‘80s as Saturdays = Youth was, it somehow feels less steeped in nostalgia. Gonzalez displays his uncanny knack for making unfashionable sounds fresh again with “Claudia Lewis”' un-ironic slap bass and “Splendor”'s children’s choir; it takes guts to use these sounds and brains to use them well, and fortunately, he has both. Unlike Saturdays = Youth's wall-to-wall epics, Hurry Up, We’re Dreaming offers ebb and flow, with interludes like the dreamy “Echoes of Mine” and “Klaus I Love You” tipping the album’s balance toward atmosphere instead of pop songs. More than any of M83's other albums, Hurry Up, We’re Dreaming feels like a destination to explore; while it may not be quite as striking as Saturdays = Youth, it delivers a welcome mix of classic sounds and promising changes.


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Re: France - One song per day.

Post by Romain » Tue Jul 29, 2014 3:01 pm

Next song : a crazy woman.

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Re: France - One song per day.

Post by Romain » Tue Jul 29, 2014 3:13 pm

Areski et Brigitte Fontaine - C'est normal - 1974

Album : Je ne connais pas cet homme


Review by Richie Unterberger
Fontaine, who started out sounding like a more adventurous version of Françoise Hardy, got steadily further out as the 1970s progressed. By the time of this recording, she was arguably too far out to even be categorized as a popular singer. Collaborating with songwriter Areski (who also takes some of the vocals, both alone and in partnership with Fontaine), this odd assortment of tracks includes pieces in which singsong lyrics are done a cappella or backed by nothing more than an instrument or two (not always guitar); dissonant jazz-avant-garde miniatures that could serve as soundtrack material for suspense thrillers, occasionally overlaid with spoken poetry; and highly rhythmic cuts in which African drumming-like percussion patterns support Fontaine and Areski's experimental vocalizing, which can sound like bird noises or early New York "new music" exercises at times. It's not without its folky and melodic elements (particularly in some of Fontaine's singing), but it's tough listening, and not especially rewarding. This is due more to Areski's unattractively gruff and brusque vocals than Fontaine; to quote from the book of the jealous husband, he is not worthy of her. Confusingly, although the front of the sleeve bills this as a Fontaine album with the title Je Ne Connais Pas Cet Homme, the spine and back cover bill it to "Areski et Brigitte Fontaine," and the back cover gives the title Fontaine 4.
La la la…

- Areski !
- Qu'est-ce qu'il y a ?
- T'as pas entendu un truc bizarre ?
- Si.
- Qu'est-ce que c'est ?
- C'est le gaz. C'est le gaz dans l'appartement en dessous. Des fois y'a fuites, alors ça s'accumule, puis si y'a une étincelle ça explose. C'est normal !
- Ah.
- Et qui dit explosion, dit détonation. D'où le bruit que t'as entendu tout à l'heure,
- Ah.

La la la…

- Dis donc ?
- Quoi ?
- Tu n'sens pas le brûlé ?
- Ben ouais, c'est normal je t'ai expliqué. Il y a eu une explosion.
- Oui.
- Et l'agitation moléculaire due à cette explosion…
- La… quoi ?
- L'agitation moléculaire.
- Ah oui.
- Provoque une élévation thermique suffisante pour enflammer les matières environnantes.
- Oui, oui.
- C'est alors ce qu'on appelle la combustion. C'est normal !
- Ah.
- Tu comprends ?
- Oui, oui.

La la la…

- Mais alors… mais…

La la la…

- Qu'est-ce que tu voulais ? La la la…
- Là je voulais savoir… Tout l'immeuble, il est en train de brûler, c'est bien ça ?
- Mais oui, écoute. Les matières qui ont servi à la construction de cet immeuble sont très fragiles. Tu comprends ?
- Oui.
- C'est normal parce que de toutes façons il n'y a que des familles d'ouvriers et des étrangers et quelques improductifs.
- Oui.
- Alors le feu s'empare très facilement des matières.
- Ouais.
- Ça se propage. Nous sommes donc en présence d'un incendie.
- Aaaah. un incendie.
- C'est normal.
- Oui, oui, oui.
- Oui ?
- D'accord.

La la la…

- Areski !
- Qu'est-ce qu'il y a encore ?
- Tu sens pas comme si on commençait à tomber, là, un peu… ?
- Ecoute… Ecoute…
- Oui.
- Essaie de comprendre, c'est très simple.
- Oui.
- Tu te souviens la combustion ?
- Oui.
- La destruction de l'immeuble par les flammes ?
- Oui.
- Bon. Ça veut dire qu'en-dessous, les murs et les étages ont disparu.
- Hum.
- Et qu'nous n'sommes plus soutenus par rien.
- Ouais.
- Or, une chose qui n'est plus soutenue par rien, tombe. C'est ce qu'on appelle la pesanteur. C'est normal !
- Aaaah, ouais.

La la la…

- Mais alors… on va tomber…
- Mais oui.
- Du 15e étage ?
- C'est tout à fait normal.
- C'est l'attraction terrestre.
- D'accord.

La la la…

- Ares, excuse-moi
- Quoi ? quoi ?
- Pardon, mais je pense à un truc.

- On n'va pas mourir dans une minute ?
- Brigitte, tu es fatigante !
- Pardon.
- Donc, on est en train de tomber.
- Oui.
- Or, tout corps tombe à une vitesse définie.
- Oui.
- Et en arrivant au sol il subit une décélération violente qui amène la rupture de ses différents composants. Par exemple, les membres se séparent du tronc.
- Oui.
- Le cerveau jaillit hors de la boîte crânienne, etc.
- Ouais.
- Dans ces conditions de déconnexion, il est évident que le phénomène de la vie ne peut pas se maintenir, c'est NORMAL, tu comprends ?
- Ouais…

La la la ...

- Areski !
- What ?
- Haven't you heard something strange ?
- Yes, I did
- What is it ?
- It's the gas. It's the gas in the apartment below. Sometimes there's leaks, so it accumulate, then if there's a spark it explodes. It's normal !
- Ah
- And if there's an explosion, there's a boom. That's the noise you heard earlier.
- Ah

La la la ...

- Hey ?
- What ?
- Is there a smell of burning ?
- Yeah, it's normal, I told you. There was an explosion.
- Yes
- And the molecular agitation caused by this explosion
- The ... what ?
- The molecular agitation.
- Ah yes
- Cause a temperature rise, sufficient to ignite the surrounding materials
- Yeah, yeah
- It's called combustion. It's normal !
- Ah
- Do you understand ?
- Yeah, yes

La la la

- But then ... but ...

- What do you wanted ? La la la ...
- I wanted to know ... The whole building, it's burning, right ?
- Yes it is, look. The materials used to build the building are very fragile. You understand ?
- Yes.
- It's normal cause there is only working-class families, foreigners and a few unproductive people.
- Yes
- So the fire easily seize the materials
- Yeah
- It spreads. So we have a fire here.
- Aaaah. A fire.
- It's normal.
- Yes, yes, yes
- Yes ?
- Ok.

La la la ...

- Areski !
- What is it again ?
- Don't you think that we are starting to fall, a little ... ?
- Listen, listen ...
- Yes.
- Try to understand, it's very simple.
- Yes.
- Do you remember combustion ?
- Yes.
- The destruction of the building, by the flames ?
- Yes.
- So, it means that below, the walls and the floors have disappeared.
- Hum.
- And that we are not supported by anything.
- Yes.
- Now, something that is not held up by anything, fall. It's called gravity. It's normal !
- Aaaah, ok.

La la la ...

- But then ... we'll fall ...
- Yes !
- From the 15th floor ?
- It's totally normal.
- It's the earth attraction.
- Ok.

La la la ...

- Ares, excuse me
- What ? What ?
- Excuse me but I'm thinking about something.

- We're not going to die in a minute ?
- Brigitte, you're annoying !
- Excuse me.
- So, we're falling ?
- Yes.
- But, all body fall with a precise speed.
- Yes.
- And when it touches the ground, it suffers a brutal deceleration that induces the splitting of its various components. For example, the limbs split up from the trunk.
- Yes.
- The brain spurt out of the cranium, etc.
- Yeah.
- In such conditions, it's obvious that the phenomenon of life cannot remain, it's NORMAL, do you understand ?
- Yeah ...


Thanks to Mimyturner in Lyrics Translate.
Last edited by Romain on Mon Aug 10, 2020 12:44 pm, edited 2 times in total.

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Re: France - One song per day.

Post by Romain » Wed Jul 30, 2014 8:18 pm

Next song : Nabokov style.

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Re: France - One song per day.

Post by Romain » Wed Jul 30, 2014 8:28 pm

Alizée - Moi... Lolita - 2000

Album : Gourmandises

Wikipédia :
Alizée Jacotey (French pronunciation: ​[a.li.ze]; born 21 August 1984), known professionally as Alizée, is a French recording artist and dancer. She was born and raised in Ajaccio, Corsica.

She was discovered by Mylène Farmer, following her winning performance in the talent show, Graines de Star, in 1999. While collaborating with Mylène Farmer and Laurent Boutonnat, she followed it with a series of albums that attained immense popularity by pushing the boundaries of lyrical content in mainstream popular music and imagery in her music videos, which became a fixture on NRJ, Europe 1, MTV, Virgin, and many others. Throughout her career, many of her songs have been in top 25 hit lists on the record charts, including "Moi... Lolita", "L'Alizé", "J'en ai marre!" "Gourmandises", "Mademoiselle Juliette", her cover version of "La Isla Bonita", "Parler Tout Bas", "Les collines" and "À cause de l'automne".

According to the IFPI and SNEP, Alizée is one of the best-selling female French artists of the 21st century, and is also the singer with most exports out of France. Alizée entered the music business in 2000. She has since released five studio albums, the first two of which were composed by Laurent Boutonnat and written by Mylène Farmer. Her first album was Gourmandises, which received Platinum certification within three months of release. After its international launch in 2001, Gourmandises was a success both in France and abroad, earning Alizée the distinction of being the highest selling female French singer in 2001. The album featured her most successful single "Moi... Lolita" which reached number one in several countries in Europe and East Asia, in the UK the song was acclaimed by the New Musical Express who recognised it with a "Single of the Week" award. It became a rare example of a foreign-language song to chart highly in the UK, peaking at number 9.

Gourmandises was followed by a second studio album, Mes courants électriques, in 2003. Following its release, Alizée toured during the fall of 2003, performing in 43 concerts throughout France, Belgium and Switzerland.

Alizée married fellow French singer Jérémy Chatelain in late 2003. Following her marriage, she took a hiatus from singing before returning with a new album, Psychédélices on 3 December 2007, which became most popular in Mexico.

Her fourth album titled Une enfant du siècle was released on 29 March 2010, one of the most acclaimed by the critics. In early 2011 she recorded a duet with Alain Chamfort for his new album Elle & lui.

Released in March 2013, Alizée's fifth studio album, 5 received acclaim from the critics, still with a continuous promotion including the two first songs "À cause de l'automne" and "Je veux bien". Later she collaborated on Olly Murs's single "Dear Darlin'". Starting on 28 September, she participated in the TV show Danse avec les Stars (French version of Dancing with the Stars), which she won on 23 November 2013.

The song was instrumental in showcasing Alizée's image as that of a seductive Lolita character, referring to the novel by Vladimir Nabokov. The video for the single, which was the first to be filmed of her, showed Alizée as a village girl visiting a nightclub.

The lyrics to the song also make several references to the songwriter, Mylène Farmer.
Moi je m'appelle Lolita
Lo ou bien Lola
Du pareil au même
Moi je m'appelle Lolita
Quand je rêve aux loups
C'est Lola qui saigne
Quand fourche ma langue,
j'ai là un fou rire aussi fou
Qu'un phénomène Je m'appelle Lolita
Lo de vie, lo aux amours diluviennes

Moi je m'appelle Lolita
Collégienne aux bas
Bleus de méthylène
Moi je m'appelle Lolita
Coléreuse et pas
Mi-coton, mi-laine
Motus et bouche qui n'dis pas
À maman que je suis un phénomène
Je m'appelle Lolita
Lo de vie, lo aux amours diluviennes

Repeat Refrain

C'est pas ma faute
Et quand je donne ma langue aux chats
Je vois les autres
Tout prêts à se jeter sur moi
C'est pas ma faute à moi
Si j'entends tout autour de moi
Hello, helli, t'es A (L.O.L.I.T.A.)
Moi Lolita

Me Lolita
Me, I'm called Lolita
Lo or just Lola
That's all the same
Me, I'm called Lolita
When I consider my mistakes
It's Lola who has to bleed
When I make a slip of the tongue, I have
An elated laugh also elated
As a phenomenon
I'm called Lolita
Lo for spirit, Lo for a diluvial love

Me, I'm called Lolita
Student below
Tight jeans
Me, I'm called Lolita
Quick-tempered and not
Half-cotton, half-wool
Silent and a mouth that doesn't tell
Mum that I
Am a phenomenon
I'm called Lolita
Lo for spirit, Lo for diluvial love

Repeat Refrain

It's not my mistake
And if I want to quit
I see the others
All ready to throw themselves upon me
It's not my own mistake
If I hear everything around me
Hello, helli, you're A (L.O.L.I.T.A.)
Me Lolita

Lyrics translate

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Re: France - One song per day.

Post by Romain » Thu Jul 31, 2014 4:02 pm

Next song : a man in love.

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Re: France - One song per day.

Post by Romain » Thu Jul 31, 2014 4:08 pm

Khaled - Aïcha - 1996

Album - Sahra

Artist Biography by John Bush (Allmusic)

Kutche Born in Algeria but now based in France, Khaled is known as the king of rai. He was born Khaled Hadj Brahim in 1960 in Sidi-El-Houri. Along with Egyptian, Spanish and French music influences, Khaled also listened to the Beatles and James Brown as a child. After learning to sing and play accordion, he left school at age 16 to record his first single. With a blend of funk, reggae and Arabic music, Khaled soon pioneered the transformation of rai from a local style to worldwide popularity by adding a synthesizer and drum machine. He moved to France in 1986 and released Kutche, his debut album. His first domestic work was a 1993 self-titled album. N'ssi N'ssi appeared the following year. 1996 saw the release of Sahra, and three years later King of Rai appeared. In early 2000, 1,2,3 Soleils, a trio recording also featuring Rachid Taha and Faudel, was released. Elle Ne Peut Pas Vivre Sans Lui was issued later that fall with El Lil Ou Nour appearing in early 2001.

Album Review by Don Snowden
If Khaled and N'ssi N'ssi introduced Khaled and incorporated rai into the hip, global dancefloor mix, the gleaming production and lush arrangements on Sahra leave no doubt that French pop mainstream is the target here. It worked -- "Aïcha" was a breakthrough pan-European pop hit, and even though the disc jumps around from song to song and style to style, it still basically hangs together. The lack of flow is understandable because it's a total patchwork effort -- three tracks produced by Clive Hunte in Jamaica with reggae session heavyweights, three songs produced by Don Was in L.A. with high-priced session heavyweights, one with Marseilles rappers Iam, and the rest by Frenchmen Jean-Jacques Goldman and Philippe Eidel. The credits make it seem likely that the overseas tracks were recorded there and then shipped to Paris for final touches. Real strings add an Arabic touch to the convincing title track, while "Oran Marseille (Oran Mix)" starts with kazoo, of all things, and winds up as kind of a high-tech, tweaked roots rai with a pronounced Jamaican organ. Written by Goldman/Khaled and sung in French, "Aïcha" sports a magnetic hook carried by Khaled's vocal charisma over a nice mid-tempo trot and atmospheric keyboards. After that reasonably cohesive start, Sahra goes all over the map. The strings on "Hey Ouedi" are more light Euro-classical than Arabic pop majestic (not surprising since the players are French), while "Detni Essekra" is almost old-style Europop lounge music with tinkling piano, rich accordion, and Bernard Paganotti's acoustic bass. The synths alternating between Arab strings and galloping prog rock sounds make the chic, upscale Euro-disco set the likely target for "Le Jour Viendra." Mexican rocker Saul Hernandez sings Spanish verses on "Ki Kounti," a nondescript Saharan sirocco-meets-SoCal-Santa-Ana-desert reggae tune. The tentative "Haya Haya" shows the pitfall of attempting Khaled's style blend -- you hear the L.A. musicians haven't gotten the feel down, and the song suffers. But the flip side is just as apparent on "Mektoubi," where the Jamaicans nail down the groove, Dean Fraser lets loose with an unusually rowdy sax solo, and Khaled fits his vocals in perfectly. Sahra is slick international pop Khaled, with his Algerian roots used mostly as flavoring. He's pretty much taken his Western pop influence right to the limit of where the watered-down crossover criticisms he receives become valid. It's calculated and slick and not the place to start if you want to hear where he came from, but the music stays on the right side of overdone...just barely.
Comme si je n'existais pas
Elle est passée à côté de moi
Sans un regard, reine de Saba
J'ai dit : Aïcha, prends, tout est pour toi

Voici les perles, les bijoux
Aussi l'or autour de ton cou
Les fruits bien mûrs au goût de miel
Ma vie, Aïcha, si tu m'aimes

J'irai où ton souffle nous mène
Dans les pays d'ivoire et d'ébène
J'effacerai tes larmes, tes peines
Rien n'est trop beau pour une si belle

Aïcha, Aïcha, écoute-moi
Aïcha, Aïcha, t'en va pas
Aïcha, Aïcha, regarde-moi
Aïcha, Aïcha, réponds-moi

Je dirai les mots, les poèmes
Je jouerai les musiques du ciel
Je prendrai les rayons du soleil
Pour éclairer tes yeux de rêve

Aïcha, Aïcha, écoute-moi
Aïcha, Aïcha, t'en va pas

Elle a dit : "Garde tes trésors
Moi, je vaux mieux que tout ça
Des barreaux sont des barreaux, mêmes en or
Je veux les mêmes droits que toi
Et du respect pour chaque jour
Moi, je ne veux que de l'amour"

Nbrik Aïcha ou nmout allik
'Hhadi kisat hayaty oua habbi
Inti omri oua inti hayati
Tmanit niich maake ghir inti

Aïcha, Aïcha, écoute-moi
Aïcha, Aïcha, nbrik
Aïcha, Aïcha, t'en va pas
Aïcha, Aïcha, ou nmout allik
Aïcha, Aïcha, réponds-moi

As if I did not exist,
she passed me by,
Without a glance,
Queen of Sheba. I said:
" Aisha, take: all is for you."

Here, the pearls, the jewels,
also the gold around your neck
The fruits, well ripe with the taste of honey
And my life, Aisha if you love me!

I will go where your breath leads me,
In the countries of ivory and ebony
I will erase your tears, your sorrows
Nothing is too beautifull for a girl so beautiful

Aisha, Aisha listen to me
Aisha, Aisha don't go
Aisha, Aisha look at me
Aisha, Aisha answer me

I would say the words, the poems
I would play the music of the sky
I would take the rays of the sun
to light up your dreamy eyes

Ooh! Aisha, Aisha listen to me
Aisha, Aisha don't go

She said: "Keep your treasures,
Me, I'm worth more than that.
Bars are still bars even if made of gold.
I want the same rights as you
and respect for each day,
Me I want only love."

(In Arabic)
I want you Aisha and I love you to death
You are queen of my life and my love
You are my years and my life
I hope to live with you, only you

Lyrics Translate
Last edited by Romain on Wed Oct 26, 2016 1:18 pm, edited 1 time in total.

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Re: France - One song per day.

Post by Romain » Sat Aug 02, 2014 7:56 am

Next song : a bunch of latin and electric guitare.

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Re: France - One song per day.

Post by Romain » Sat Aug 02, 2014 8:01 am

Era - Ameno - 1997

Album : Era


Artist Biography by Jason Ankeny (Allmusic)
Era was the project of French musician Eric Levi, who created ethereal, evocative soundscapes in the tradition of artists like Enigma and Deep Forest. Era's self-titled debut LP appeared in 1998. In 2000, the follow-up, Era 2 was released. Levi returned with 2003’s The Mass -- whose title track referenced Carl Orff’s masterpiece O Fortuna - and subsequently sales hit platinum status is France and Switzerland. The Very Best of Era was released in 2008 and featured all their popular tracks from their last three records as well as remixes. Eric returned in 2008 after a four year hiatus and released an album a year - 2008’s Reborn, 2009’s Classics and The Essential and Classics Vol. 02 in 2010.

Review of the album by Stephen Thomas Erlewine
Era's eponymous debut album may be a little too similar to Enigma for some tastes, but Eric Levi is a skilled producer who's capable of making engaging soundscapes. So even if Era doesn't sound groundbreaking, it doesn't sound bad either, and anyone who likes the hypnotic classical-dance fusion sound that was all the rage in the early '90s will find this quite entertaining.

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