Vanessa Paradis

So, what are we learing from the latest live-album by Vanessa Paradis, recorded at the Opera de Versailes? Well, nothing. Because from earlier live-records we already knew that she really, really can sing. That she has many great songs in her catalogue. That if you re-arrange those songs for a string quartet, or an acoustic setting, they’re still great songs. So the real question concerning Une nuit à Versailles isn’t: how does it sound? Or: is it a good show on the dvd? No, it’s: just how lovely does she look in the 56-page photo-book that comes along in the deluxe version. Then again, we already know the answer to that question too, right? (See a bootleg-vid of VPs Versailles-show here).

Vanessa Paradis – Dis-lui toi que je t’aime

Alfa Rococo

Serge Gainsbourg’s Le Poinçonneur des Lilas with a sweet ska-backing – that’s a fresh take. On the former FS-blog, we once posted 25 varieties of the song about the unhappy ticket puncher, but that were mostly jazz-reworks. This new version comes courtesy of Alfa Rococo, the Canadian pop-duo that just released their new album. A great album, with added electronic touches. Posted the first single before (this one), and though I’m not sure if the lyrics really fit a backing like this, I surely don’t mind while skanking on it. See a very nice acoustic version of the song by David and Justine here.

Alfa Rococo – Le poinçonneur des Lilas
(original version here)

Marianne & Francoiz take America

In October, Marianne Dissard and Françoiz Breut toured the US of A together. Eleven days, eleven shows, 3489 miles. That’s a roundtrip Paris-Moscow! Especially for FillesSourires, the girls kept a diary. It’s star-studded, it’s funny, it’s girly, it’s a good read.

Jour 1 – Bruxelles to Tucson
Françoiz : I don’t really feel like landing and having to go through the impressive border checkpoint. In Chicago, a charming border agent, a sort of Mickey Rourke (is his hair greased back or just greasy?), asks me why I’m coming to the USA and what my job is in Bruxelles. I shake and say I am an illustrator. Now, onward to Phoenix, a city of suburbs that extend straight into the surrounding desert, houses that spring out of the ground like weeds.

21H30 : Marianne and Shana – a cute blond – come to pick us up, Stéphane (my guitarist) and me at the bus shuttle in Tucson. Marianne plays tonight at Plush, with her young musicians, including Sergio, who had played with me when I was last in Tucson. The bar is quiet. Marianne softly sings with her big glasses, anchored to her mike. We meet up with our road companions, Antoine and Christophe, last seen at the Bruxelles airport. They’re here to film our tour, beginning tomorrow.

Jour 2 – Tucson to San Diego

Françoiz : Early rise; I don’t quite realize yet that we’re playing in San Diego tonight. Marianne has found us a drummer, Jonathan Richman’s drummer. I’ve been a fan of Jonathan for a long time. We used to cover one of his songs in Les Squads Femelle, my first band. It’s always strange to play a show with someone you’ve never met before but apparently, that’s the American way. Now, we have to go get a guitar we’re borrowing from Al Perry, after having breakfast at Hotel Congress. Howe Gelb drops by to say hello before leaving for a show in Europe. We go pick up Tommy Larkins (the one who plays drums, sitting on a tree branch in There’s Something About Mary, next to Jonathan Richman). He walks out of his house and into our tour van with a glass and bottle of white wine. It’s barely 1pm; I guess you wake up as you can.

The van is too big, our heavy heads roll around. We get stopped at the California border: “No fruits with you?” No fruits, no problem. We arrive, after a few stops in the desert, on Paloma Road. What a nice name! I’ve never put myself in an oven: that’s how it feels like when we step out of the van. Los Angeles reached 45 degrees today, the highest temperature ever recorded at this time of the year since temperatures have started to be recorded in 1887!

Marianne : I’m drifting, head in the clouds. I’ve managed to sneak on the CD of my musical obsession of the moment, A Sufi And A Killer by Gonjasufi. Sand dunes, then we cross the Arizona/California border. The sun is setting, grey-pink. All is hallucinating around us, in my head. Hallucinating, the arrangements of Gaslamp Killer on that album. Hallucinating, the temperature outside the van. Hallucinating, these people around me who joke in French. Hallucinating, that coïncidence, a tweet from Gonjasufi who writes that he’ll try coming to our show in LA. I’m all excited about if for miles!

Read the rest of the tour diary HERE. A tourvideo is up on Marianne’s Facebook, HERE.

Marianne has a new album coming out next year. See a teaser video HERE.

Souad Massi

Souad Massi, ‘Algeria’s answer to Tracy Chapman’, duets on her new album with Paul Weller and Francis Cabrel. This RFI-interview makes a big thing out of the fact that she sings in French. It’s hardly the first time the blackhaired beauty sings the language of love, she duetted with Marc Lavoine and sang two French songs on her second album Deb. The duet with Weller is quite boring, but the one with Cabrel is great. The song has a great drive, the rockrhythm and the Arabic instrumentation go well together and Cabrel nails the Arabic verse. Souad: ‘It was outrageous! I wrote out the words for him phonetically and he got it right in a single recording. Impressive stuff.’ So is the jazzy, upright bass-driven song ‘Stop pissing me off’ on her new album. She really means it.
The atmosphere of the duet with Cabrel reminds me of the work of Dutch (-based) collective NO Blues. They started five years ago as a project to mix Arabic music and American folk, hence their ‘Arabicana’ moniker. Now, four albums under their belt, they end their journey with help from some African artists as well. Hela Hela, the new album, is (again) a great culture clash. Nothing to do with French singing girls (though they did record one French track), but so what?

Souad Massi & Francis Cabrel – Toute reste a faire
NO Blues – Le

Pop Bâtard XV: C’est le vent, Serge

“Mash ups/ Bastard pop is a musical genre which, in its purest form, consists of the combination (usually by digital means) of the music from one song with the acapella from another. Typically, the music and vocals belong to completely different genres. At their best, bastard pop songs strive for musical epiphanies that add up to considerably more than the sum of their parts”, writes Markyboy on his highly recommended website, and if you’re not familiar with the genre, that’s quite a spot-on definition. On Je t’aime quand le vent souffle, he fuses Serge’s everlasting “Every time I put my shirt back on, she takes it off again” hymn to BB with I’ll Leave When the Wind Blows by Oklahoma neo-soft rockers All American Rejects. A smooth one which works just fine.

Markyboy – Je t’aime quand le vent souffle

FS Rerun: La Valente

This one appeared for the first time on the old blog in our Cahiers du Cinéma series, without the new extras.

Italian brunette Caterina Valente isn’t very famous for her movies, though she appeared in a good dozen, her first one being the prostitution melodrama Party Girls for Sale a.k.a. They Were So Young – released in 1954, the same year she hit it grand with her German version of Cole Porter’s I Love Paris, re-titled Ganz Paris träumt von der Liebe (The Whole of Paris Dreams of Love) and selling more than half a million copies.

Most of Valente’s hits came from the German Schlager alley, a back street of pop most people rightly fear to tread. However, Bonjour Kathrin from the same-titled 1956 Valente movie is a charming example of how to fuse a German language song with French flair. No wonder: Actually La Signora had started out à Paris, and in the late 50s came back with some recordings in French, among them the irresistible Un p’tit Béguine – supremely seductive stuff, easily on a par with the divine Connie Francis who also took her turn at Gallic sentiments in 1965.

Caterina Valente – Bonjour Kathrin

Caterina Valente – Un p’tit Béguine

Connie Francis – La vie en rose


Bonus speziale: Caterina’s French language version of the all-time classic Fever, written in 1955 by Otis Blackwell, first recorded by bluesman Little Willie John a year later and immortalized by Peggy Lee in 1958. When Caterina is talking trente-neuf, it sounds like a position Peggy never knew.

Caterina Valente – 39 de fièvre

Bonus extra speziale: La Valente’s French version of Paul Anka’s Put Your Head on my Shoulder. Sighing sighs, holding hands.

Caterina Valente – Prouve-moi que tu m’aimes

Marie-Amélie

Guestpost! Mordi on Emmanuelle Seigners sister.

It’s always mentioned that Marie-Amélie is the sister of actress and singer Emmanuelle Seigner, but with this this new album, Marie-Amélie has the right to be known on her own as an independent artist. A follow up to her mostly lacklustre first album Merci pour les fleurs, Dans un vertige leaps out of the speakers with the first track On se regardait. Her vocals are filled with feeling as the song builds and the drums kick in and result in a nostalgic heartfelt track that just begs to be put on repeat listening. From here on in the album just grows with instantly catchy melodies. She even manages to use children singing without making me want to throw up in my mouth on the excellent La vie ca pique ! As well us the upbeat songs she slows things down a few times such as with the title track where you get the chance to get swept up in the depth and beauty of the emotion in her voice. Her playfulness at times reminds me of Marie Espinosa and occasionally there were shades of Olivia Ruiz. The upbeat songs are more successful than the softer tracks – but most of it all it feels like she has broken out as an artist with her own identity and sound. There’s lots to enjoy here!
And if I had to compare this to Emmauelle Seigners last album – I would say this wins (just!)

Marie-Amélie – La vie ca pique