Charlotte Gainsbourg @ Paradiso

Charlotte wasn’t to blame, I think. That’s if you want to blame anyone for the show yesterday in Paradiso. The sound engineer is a perfect scapegoat, but getting the sound right in the Amsterdam venue is a challenge, I know. Yesterday, the first half of the concert had waaaaay too much bass. After about four of five songs, it got better. But it didn’t save the show.
It’s not easy to put the finger on the reasons why it didn’t appeal to me. Heck, I wanted it to be great. The Bruxelles show was excellent. Fierce. Yesterday, it was plushy. Lovey-dovey. Someone on twitter said it was like a pajama-party, due to the white clothes every one wore on stage. Connan Mockasin, dressed like a cult leader on stage, should’ve been the perfect musical companion – see this video. But yesterday, the music was too timid, too tame. To me, it sounded and looked like the band and Charlotte were uneasy with each other. Like they weren’t familiair enough with the material, with the new arrangements. Reviewer Peter Bruyn said to me: Connan’s no Beck, no Jarvis, no Conor J. O’Brien from Villagers, or one of the other men that helped push Charlotte to great heights. He’s sub-top at best. Charlotte needs top guys.

At times, it fared pretty well. The glam-funkin’ way Connan re-arranged songs from Charlotte For Ever, her first album from the 80s that Serge penned, did work. But songs like Heaven Can Wait or The Songs That We Sing, needed more oomph, chutpaz, drive, body – something like that. And that note-perfect cover of Ashes to Ashes…nice. For once.
Were my expectations too high? Charlotte wasn’t to blame. Yesterday, she looked stunning, sang charmingly, smiled a lot, it seemed like she had a great time. Part of the audience did so too (I guess about 400 people showed up, in a room that holds about 1500). But to me, to mrs Guuzbourg, to several people I spoke afterwards like FS-collaborators Maks and FransS, it didn’t even touch the standard we raised for Charlotte.

See an impression on Youtube.
More pictures HERE

Charlotte & Connan

Charlotte Gainsbourg is touring with flamboyant Kiwi (meaning: from New Zealand) artist Connan Mockasin. This weekend, they’re playing Brussels and (hooray!) Amsterdam. They redid Got to Let Go, the track Charlotte sang with Charlie from Noah & the Whale on her Stage Whisper album. A better version, I’d say. I’m not that familiar with Mockasin’s music, but according to It’s Choade, My Dear, he must’ve heard Serge’s masterpiece Melody Nelson.
Watch Charlotte and Connan together here.

Charlotte Gainsbourg & Connan Mockasin – Got to let Go
Connan Mockasin – It’s Choade, My Dear

Alain Chamfort and the girls

Alain Chamfort is a big name in France. He played on hits by Dutronc like Les Playboys and Le Cactus, worked with Véronique Sanson and had Gainsbourg write lyrics for him. He debuted in 1968, released his first album in 1976 and scored big hits. Elles et lui is a duets album, Chamfort revisits old songs with the creme de la creme of French female vocalists: Claire Keim, Keren Ann, Vanessa Paradis, Elodie Frégé, to name but a few. Most songs are great. Take the lovely duet with Elodie, for instance. The original, from 1993, is an overblown, kitschy jazz ballad. Now, the music’s understated, the lyrics stand out and Elodie is doing what she does best. Also very good is Bambou, Chamfort’s duet with Camelia Jordana (a song written by Serge).

Alain Chamfort & Elodie Frégé – L’Ennemi dans la glace

Iggy sings Serge


Iggy Pop singing in French. De indestructible rocker did it before, duetting with Emmanuelle Seigner for instance (here), singing Les feuilles mortes on his Preliminaires-album (see here) and covering Serge Gainsbourg together with Lulu, on the latter’s debut album (see here). On Iggy’s new album, he sings songs by Dassin, Piaf, Brassens and Gainsbourg again, together with covers by The Beatles, Fred Neil and Yoko Ono. When you’ve heard the accent Iggy has when he sings in French, less charming then Blossom Dearie’s I’d say, you know how those covers sound. Funny, not good. Born in 1947, Iggy was the one exception to the rule that you can’t rock out when you’re over 40. Now, he proves that crooning, re-interpreting the classics, is an art that needs more than just a deep voice. I mean, Michelle by the Beatles, by Iggy? Come THE FUCK on. Must be a joke. If you want to hear old guys doing what they do best, listen to the new Leonard Cohen album, listen to Dr John’s Locked Down, listen to Tom Jones covering Tom Waits, even. But not this.

Iggy Pop – La javanaise

See video of Serge singing La Javanaise HERE

C’est Magnifique

The Guuzmeister already posted Jessica Paré’s version of Zou Bisou Bisou, as performed in AMC’s Mad Men, a couple of weeks ago. But there’s more: In season 3’s episode My Old Kentucky Home Christina Hendricks unpacks the accordion and shines with an all- too-short version of C’est Magnifique — actually not written by a Frenchman, but by quite unmatched American tunesmith Cole Porter for the 1953 Broadway super hit Can-Can.

Ornette

You may know blonde Bettina ‘Ornette’ Kee from her French hitsingle Crazy, or the Nôze-remix. She’s French, but sings in Franglais and now has an EP out with two duets (Mike Ladd, Ours), a new song (see here) and a very, very nice cover of French filterfunkheads Justice’s On’n On (great unofficial video with Monica Belluci). Love it. And yes, her stage name is a nod to free jazz hero Ornette Coleman. In an interview, she said: “One of his songs is called ‘Lonely woman’ and that was what I wanted to call myself when I first started performing alone. But I found that a bit ‘heavy’ and redundant, so instead I plumped for ‘Ornette’ which I also found a very pretty name and it’s also appropriate because even if I don’t exactly play the same sort of music, I also like improvising when I play.”

Justice – On’n On
Ornette – On’n On

Lou Doillon

I.C.U. is th first single from a new EP (out in June) by Lou Doillon, daughter of Jane Birkin, half-sister of Charlotte Gainsbourg. Go HERE (or here) to see the video. Album’s out in September, produced by Etienne Daho, mixed by Phillipe ‘Cassius’ Zdar.

Lou Doillon – I.C.U.