France Gall

   
Artist: France Gall

   Genre(s): 
Rock
   Other
   

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Discography:


   
 Evidemment (CD 2)

   Year: 2004   
Tracks: 18


   
 Evidemment (CD 1)

   Year: 2004   
Tracks: 21


   
 Best Of (CD2)

   Year: 2004   
Tracks: 15


   
 Best Of (CD1)

   Year: 2004   
Tracks: 12

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Although she's best-known as the pretty, perky teenager world Health Organization north Korean won the 1965 Eurovision Song Contest with her slay "Poupee de Cire, Poupee de Son," French protrude singer France Gall has had a much thirster and more than varied career than that, having released solid records about nonstop since the early '60s. Although only a cult public figure in most of the rest of the world, Gall is a major star topology and love figure in her native state.


Born Isabelle Gall in Paris on October 9, 1947, Gall was the girl of French performing artist and producer, Roger Gall, wHO had scripted songs for Edith Piaf and Charles Aznavour. In 1962, at the eld of 15, Gall was ushered into the studio by her forefather to record her debut EP, Ne Sois pas Si Bete. The four-track EP (the monetary standard in French pop music at the time, and the format of most of her releases for the repose of the decade) was an tremendous pip, selling cc,000 copies in France thanks both to the irresistible title-track and the perfectly stunning cover picture. Gall released a series of similarly successful pop hits for the adjacent several days, peaking with fetching the said Eurovision Song Contest in 1965. But although many dismissed Gall as a Francophone Lesley Gore, making flossy and ultra-commercial pop hits with small substance, Gall's hits from this epoch stand up far better than most. Only Francoise Hardy was consistently devising records up to these standards during this era. Though Gall's heights, breathy voice was true slightly limited, she made the most of it. Even foolish hits like "Sacre Charlemagne," a duet with a pair of puppets world Health Organization were the stars of a children's show on French TV, have an infectious, zesty good luck charm; meatier tunes, like the sulfurous jazz-tinged ballad "Pense a Moi" and the vivid rocker "Laisse Tomber les Filles," were as honest as any single produced in the U.S. or Great Britain at the time.


In 1966, Gall's public persona shifted into a more senesce phase, both musically and personally. The change came with that year's controversial hit "Les Sucettes." Though on the surface the Gainsbourg-penned tune was a pretty little song about a young daughter and her lollipop, the unmistakable subtext of the dodgy lyrics meant that the not-yet-18-year-old Gall was telling approvingly (and, she subsequently claimed, totally unwittingly) about oral sex. Les Sucettes and its followup, Baby Pop, ar among Gall's finest, musically richer and more varied than her early hits, simply every morsel as catchy. (During this stop of her career, Gall was sign-language not only to the French division of Philips, just to the German offset of the company, and as well released respective German-language EPs and albums, mixing translations of her Francophone hits and all-new material.) The psychedelic era establish Gall, under Gainsbourg's counseling, tattle increasingly unknown songs, like "Teenie Weenie Boppie" (a off-the-wall melody about a deadly LSD trip that somehow involves Mick Jagger) set to some of Gainsbourg's to the highest degree out-there arrangements. The splendid 1968 is Gall's best album from this menstruation, with "Teenie Weenie Boppie," the trippy "Nefertiti," and the slinky, gaudy "Bebe Requin," peradventure Gall's sexiest single ever.


Wish all of the stars of the '60s ye-ye scene, Gall's life history took a downturn in the early '70s. No yearner a teenager, but without a new persona to redefine herself with, (and without the serve of Gainsbourg, whose time was taken by his own albums and those of his married woman Jane Birkin), Gall floundered both commercially and artistically. A judge variety from Philips to BASF in 1972 didn't help matters, simply in 1974, Gall met and married songwriter/producer Michel Berger. Berger took o'er his wife's career starting with 1975's France Gall and re-established her popularity passim Europe. Berger's middle of the road soft stone stylus (think late-era Elton John, with whom Gall recorded a pas de deux, "Les Aveux," in 1980) is slickly commercial and for the most voice, less-inspired than Gall's '60s work, simply although her material was by and big weaker, Gall became a very much stronger and more technically ace singer during this earned run average. Albums like 1987's Babacar, 1984's Debranche, and 1988's live Tour de France cannot be recommended to those wholly averse to mellow "light" rock candy, merely they give birth their charms.


Gall's lifespan took a tragic turn in the '90s; Berger died of a centre attack at the years of 46 in 1992, and their daughter Pauline died of cystic fibrosis at the years of 19 in 1997. Gall announced her retirement after Berger's death, but after reconsidering, she restarted her calling with 1996's France, a tender tribute to her partner and mentor. That like class, a raw generation of listeners began discovering her work when Heavenly covered her Serge Gainsbourg-penned hit "Nous ne Sommes pas stilbesterol Anges" on Operation: Heavenly.