Posts Tagged ‘Catherine Deneuve’

La Chanson de Pervert

December 30, 2013

Fifteen years after his death Serge Gainsbourg is going global, and there’s a fistful activities in his memory
Published in Amsterdam Weekly, 2006

‘I was living in France when Gainsbourg died and suddenly the whole country was in mourning. Every time you turned on the radio there was Gainsbourg; every time you turned on the TV there was Gainsbourg. We had this old farmer as a neighbour, he was crying and the young people were too, and I thought: this is a real testament to the sad state of French pop that this guy who’s only done one song has got everyone in mourning.’

That was in 1991. Like the rest of the non-Francophone world, rock journalist Sylvie Simmons only knew Serge Gainsbourg as the ‘dirty old man who made Jane Birkin famous’ with that one song ‘Je t’aime… moi non plus’. In fact, he wrote more than 500 songs, and this year, the 15th anniversary of his death, has seen a surge of interest in Serge, including the current homage, which culminates on Saturday night in Paradiso.

Simmons will be there, reading from A Fistful of Gitanes, her biography which has played no small part in spreading Gaisnbourg’s reputation around the rest of the globe since publication in 2001. Alongside the writer, Jean-Claude Vannier, arranger and producer of Gainsbourg’s influential 28-minute masterpiece, Histoire de Melody Nelson, will perform excerpts from the album, while Radio Oh-La-La’s DJ Nataska, aka Natasha Cloutier, will DJ with Amsterdam Beat Club.

Gainsbourg was born Lucien Ginzburg in 1928, to Russian parents who fled to Paris after the revolution. His childhood in occupied France scarred him, particularly since he was Jewish and had to wear the yellow star. As a young man, Gainsbourg wanted to be a painter, but made a living playing the piano in nightclubs; eventually, the means of making ends meet became a career and in 1958 he released ‘Poinçonneur de Lilas’, the suicidal lament of a bored Metro conductor. Over the next three and a half decades he would be astonishingly prolific.

All at once, Gainsbourg was chansonnier; jazz tinkler; Eurovision hit-maker; ladies’ man (seen on the arm of Greco, Bardot, Birkin, Deneuve); intellectual; director (his films are showing this week); novelist (there’s be a reading of Evgenie Solokov in Dutch on Saturday); actor. He was a provocateur, burning banknotes, reggaefying the national anthem and, in 1984, releasing ‘Lemon Incest’. The video, showing father and 13-year-old daughter Charlotte lounging on a bed semi-clad, caused outrage. Yet he was also a cherished establishment figure, whom, when he died, Mitterand compared to France’s greatest poets.

What took the rest of the world so long to catch up? For Montreal-born Cloutier, the answer is simple: ‘Because it’s not in English. The fact that British and American artists with a working understanding of French finally ‘got’ Gainsbourg helps the masses get him as well. Without Jane Birkin or daughter Charlotte acting as a bridge between Gainsbourg and the Anglo-Saxon world this may not even have happened.’ Simmons, meanwhile, thinks it only came with a broader change in listening habits: ‘People who were doing dance music were sampling from Italian and French soundtracks and they picked up on Gainsbourg. Also the world music scene was becoming big, so if people sang in French it didn’t matter any more.’

It was in the mid-90s that Gainsbourg’s reputation really started taking off outside France, when his playboy reputation and more kitsch elements were seized upon. It fitted well with the ironic times, but meant that his more difficult aspects were overlooked, and he was packaged as a kind of singing Hugh Hefner. But rather than being a red-blooded male caricature, there’s something almost feminine about his image. After all, it was never really just ‘Gainsbourg’ but ‘Gainsbourg and…’, whether it be Bardot, Birkin or one of the many people he wrote for – and he was as associated with them as they with him. What complicated his persona more, Simmons points out, is that: ‘He often used to tease, or maybe talk honestly about, a kind of latent homosexualilty’ a theme explored in ‘Love on the Beat’ and Je t’aime, moi non plus the movie.

Complexity is the key to understanding – or not – Gainsbourg. He had a restless, magpie approach, which Simmons thinks unique: ‘There’s a great courage to be a star and say: “I don’t care. I’m going to move onto something else.”‘ His subjects ranged from 18th-century literary forgers, Austrian composers, Symbolist poets to bank robbers. ‘Torrey Canyon’ at first appears to be a slice of Sixties shoo-be-doo pop, but its lyrics about a (real-life) environmental disaster reveal a startlingly prescient view of global trade and corporate responsibility. And it’s a great slice of shoo-be-doo Sixties pop. As Cloutier says: ‘It’s by no means superficial. Since it’s about sex, incest, violence, women and other ‘taboo’ subjects, you can’t just listen to Gainsbourg’s music and “get it”. It takes time.’

Even ‘Je t’aime…’ his most famous song, is a complex beast. It doesn’t bear up to comic or ‘ironic’ reinterpretations – although there have been many – because its tongue is already planted firmly in its cheek. And it is also properly sexy. Gainsbourg had every angle covered in advance. And the hand which wrote something that filthy could also turn out something as gorgeous as ‘La Chanson de Prévert’, as well as truly original love songs, which replace hearts and flowers with outlaws and superheroes.

Stylistically, Gainsbourg leapt all over, too, conquering every genre he alighted on: jazz; afro; lounge; prog rock; even reggae albums with Jamaica’s finest, Sly and Robbie. Simmons says Gainsbourg was able to make such masterful music because ‘he was good at selecting the right people to work with. He got great producers, he got great arrangers, and he let them get on with stuff. There wasn’t that ego where he controlled every single thing. He let them do what they did best.’

It resulted in thrilling music, which seemingly never ends. ‘When you get into Gainsbourg, you hear him and then go off and in every direction to discover all the stuff he wrote for other people. It’s overwhelming,’ says Cloutier. Indeed. In addition to 20-odd studio albums, there is the work he composed for others, ranging from one-off songs to entire albums. A Fistful of Gitanes, published in 2001, Lists 115 artists who have recorded Gainsbourg’s music – everyone from Donna Summer, to the Bollock Brothers to Nana Mouskouri – and in the years since the book came out there’s been a steady stream of new releases, most notably this year’s Monsieur Gainsbourg Revisted. And again, Gainsbourg’s work will be taking off in new, unexplored directions on Saturday, when Cor Gout and AU do never-before performed Dutch translations of the master’s works.
That’s one more to add to the collection, then.

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