Session guitarist Mickey (“Love Is Strange“) Baker — whose work would grace dozens of releases by King Records and its subsidiaries — would end up being allotted exactly one solo album by the label as an artist in his own right: 1963’s But Wild.
Recorded in Paris in June of 1962, this album would feature Baker’s guitar (as Michel Ruppli’s King Label discography would seem to indicate) overdubbed onto instrumental tracks – licensed from the Versailles label – of French studio musicians.
Thanks to Whole Foods for nourishing my soul with its affordably-priced (no, seriously) 3-disc set of French pop, Café Paris: 42 Classic Songs from France. This past week, I have found myself particularly taken with one song by a French singer-songwriter whose name, Michel Polnareff, was new to me — Jimmy Page, lo and behold, I would discover to be the unnamed session musician who plays the riff that refuses to vacate the premises:
“La Poupée Qui Fait Non” Michel Polnareff 1966
Now, of course, it’s one thing for this unpaid music enthusiast to declare “La Poupée Qui Fait Non” (“The Doll That Says No”) catchy as all get out, but as I poke into the song’s subsequent history, I am quite struck by the range of artists who have been similarly charmed by the song’s wiles over the decades.
A-side of a 4-song EP that also includes the track “Beatnik”
The Jimi Hendrix Experience, for instance, can be heard messing around with the song (though just for fun), while Montreal glam punkers The 222s would record a rockin’ “70s” version (albeit in 1981).
English alternative dance act, St. Etienne would craft their own catchy 90s arrangement in 1994, while “iconic” French Canadian singer-songwriter Mylène Farmer would join forces in 1996 with Algeria’s (semi-official) “King of Rai,” Khaled, to take this song in yet another alluring direction. (click here if you have nothing else to do all day).
Perhaps it’s time for the current trendsetters of contemporary popular music to rediscover this song?
Joie de vivre!This is the seventh Zero to 180 piece thus far tagged as French Pop.
Café Paris, the aforementioned budget-priced 3-CD set that Whole Foods is pushing on its hipster demographic, also includes an engaging piece of garage punk (or, as it is more formally known, French Freakbeat) – “J’ai Mis Un Tigre Dans Ma Guitare” from the 1966 “Maxi Disque” of Jacques Dutronc. Subsequently, I would discover that Dutronc was once wedded to Françoise Hardy (celebrated in this 2013 piece), and that the two artists would one day produce a jazz guitarist, Thomas Dutronc, born 1973.
From “J’ai Mis Un Tigre Dans Ma Guitarre” it would be but a short jump to 1967‘s quintessential “Hippie Hippie Hourrah,” with a video that absolutely begs for satire:
“Hippie Hippie Hourrah” Jacques Dutronc 1967
An A-side in the Netherlands (left) and Germany (right) …
… but, Alas, only a B-side in its homeland — fourth and final track on French EP .
I recently made my first ever musical purchase at Whole Foods — a budget-priced three-disc set entitled, Café Paris: 42 Classic Songs from France. One track from 1967 tickled my ear – Bridget Bardot’s “Oh, Qu’il Est Vilain” – with its spryly humorous organ, naive recorder lines, and cuckoo chorus:
“Oh, Qu’il Est Vilain” Brigitte Bardot 1967?
How surprising to discover that this 1967-infused piece of pop was apparently issued first in Mexico on a Bardot 4-song EP (“Harley Davidson” b/w “Contact”) – though only as a B-side – before the song would find release in France the following year on a different EP (“Ce N’est Pas Vrai”) where “Vilain” would again be relegated to a B-side. What gives?
Les Roche Martin appears to have released one single and two EPs – all in 1967 – before the group’s creative director, Vèronique Sanson, struck off on her own, beginning in 1969.
“Tu As Peur de Bruit” embodies 1967’s adventurous musical spirit, while it also brilliantly evokes the baroque pop melancholy of Pet Sounds, albeit with a distinct French sensibility:
“Tu As Peur du Bruit” Les Roche Martin 1967
In 2008 Warner Music France would release a 22-CD/4-DVD (!) box set that would include (as one might expect) all of Sanson’s work, from the earliest Les Roche Martin recordings, all the way up to 2004’s Longue Distance album.
EMI’s anthology of 60s French pop – La Belle Epoque: EMI’s French Girls 1965-68 – includes this tuneful track from 1967, Christie Laume’s “L’Adorable Femme des Neiges.” Unsurprisingly, this song – with its effective use of the celeste – would be the title track of a 4-song EP released in France on Odeon (although sequenced, curiously, as its final tune):
“L’Adorable Femme des Neiges” Christie Laume 1967
YouTube numbers (just under 400 “views”) would seem strongly to suggest that entire swaths of the world’s population are wholly unfamiliar with this quirky song about an adorable lady of the snow who is, presumably, a force for good.
“After my brother married Edith Piaf, much to my delight and surprise, my brother and Edith invited me to live with them. That event, without realizing it, brought a rapid and dramatic change in my life. Suddenly because of them, I was living a life of a celebrity without being one.
Edith wanted to hear my voice and asked me if I wanted to sing. Edith asked me to sing in the opening act of several of her concerts and would have me introduce her to the crowd. She gave me the name Christie Laume. I began to live the life of a professional singer: rehearsing, touring, and recording.
After the death of Edith Piaf, I continued to sing and record under the guidance and encouragement of my brother, Theo Sarapo. At that time, the Ye Ye style songs became popular and I recorded several singles and also made several television appearances.”
This boss near-instrumental from 1967 simply attributed to “The Paris Studio Group” features a mean harpsichord – something right out of Lurch from The Addams Family:
As NME informs us: “Main title theme as used on Tony Hart`s UK TV series, Vision On – a children`s TV series aimed at deaf children which ran from 1964 to 1977. The music is composed & performed by Claude Vasori, better known as Caravelli.”
The “folk” label on the top of the album cover combined with the Reprise Records promotional sticker at the bottom make me think that some radio station staffer liquidated part of the radio station’s library for some cold hard cash. I feel bad for the listeners, since this is a good album, and I am not a radio broadcaster who serves their metro area:
The third track on side two – “Times Passing By” – is my pick for the A-side of the first single from this strong collection of songs recorded in Paris and released in 1970.
This album would appear to be the fourth in a quick succession of albums for Reprise beginning in 1968 with the release of her US self-titled debut, which contains some classic tracks, such as “Voilà” & “Qui Peut Dire” (A & B sides, respectively, of a European single released September 1967) among others. Click here to consult an extensive discography of recordings by Françoise Hardy – from 1962-2007.
Below is a TV appearance by Hardy, where she sings another track from Alone – “Song of Winter” – accompanied by striking visual imagery:
Hold Onto Your Hat: “Song of Winter” was co-written by (pre-) Foreigner’s Mick Jones.