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Malicious local lyricist

After its successes of the Sixties, France Gall remained in a dignified mainstream which did not make disgusts with intellectual winks

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Malicious local lyricist
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  • French singer France Gall dies at 70 years old

France Gall offers a perfect picture of how it was digested in much of Europe earthquake Beatle that shook popular music in early sixties. It came from a family of musical artisans participating in late fifties of Paris; An atmosphere in which y were mixed from old Chansonniers existentialists, jazzmen French postwar and young brown beasts like pianist Serge Gainsbourg. All of m, following success of those of Liverpool, realized immense musical market that was being born by new economic prosperity adolescent. Neir short, nor lazy, y dedicated mselves to writing in ir language catchy choruses and enganchosas melodies, in which y poured details of an intellectual formation more complex than that of pop. The mixture was very effective and gave rise to Yeye movement that took its ironical name from chorus of She loves you by Beatles.

Innumerable French artists limited mselves to make adaptations of Anglo-Saxon successes, but not Gall. As daughter of a good lyricist, Robert Gall, and having manager to anor lyricist, Maurice Téze, first recordings of France Gall conjointed Chorus addictive with texts that sought some turn of nut to superficiality.

The success also, at that time, of Lolita, of Nabokov, in cinematographic version of Kubrick, was last definitive feature that would explain its brilliant appearance in early sixties. With a sixteen-year-old blonde doll image, it began to record a string of songs (do not listen to idols, Poupée of Cire, Poupée of son, leaves in peace to girls, etc.), in much of Gainsbourg, that y were in same musical vignette stereotype of Adolescent simplicity with sophistication of Baroque and infectious instrumentations. A type of musical oxymoron that in Spain tried to collect artists like Karina. That ambivalence between innocence and innuendo, mark of House, would lead him to collide with Gainsbourg when very rogue slipped him, without her knowing it, a naïve melody (Les lollipops) that was actually a sorna on fellatio.

After its unique successes of Sixties, it remained in a worthy mainstream francophone who did not disgust with winks of intellectual complexity, for example, to offer Godard to him to direct a video to him. Winks, yes, very content, that never alighted her role as a pop lady of French song.

Sabino Méndez is a composer, guitarist and writer.


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