France Gall - SpeedyLook encyclopedia

Biography

His/her father is Robert Gall (1918 - 1990), former student of the academy, singer and author, inter alia, of Mamma for Charles Aznavour. His/her mother, Cecile Berthier, are the girl of Paul Berthier (1884 - 1953), cofounder of the Manécanterie of the Small Singers to the Wood Cross. It is the niece of Jacques Berthier (1923 - 1994), type-setter and organist, cousin of the guitarist Denys Lable and Vincent Berthier de Lioncourt (wire of Jacques), founder, in 1987, of the Center of Baroque music of Versailles (CMBV). She sees ravelling in her parents of many artists like Hugues Aufray, Marie Laforêt or Claude Nougaro. Child, it accompanies sometimes his father in the slides by the Olympia. Sometimes, it even made him miss the school to take it along to see Piaf, Bécaud or Aznavour in concert with Brussels. It starts to make piano at 5 years then scrapes guitar around eleven years. Towards treize-quatorze years, it makes music with her two brothers, the Patrice twins and Philippe: they had founded a small orchestra and exploited the summer the beaches and the winter in Paris. The small Isabelle is called “Babou” by her family, nickname which it carries still today. His/her father, in front of his already marked character, grants to him the title of “small corporal. ” Its hobbies are painting and the board games.

Beginnings

During the holidays of Easter 1963, his/her father encourages it to record some songs and gives the bands to a musical editor, Denis Bourgeois. The next July 11th, the editor makes him very pass a hearing to the Théâtre of the Fields-Élysées then is connected very quickly. As France is minor, it is his/her father who signs the contract at Philips where Denis Bourgeois is already artistic director of Serge Gainsbourg. Middle-class man thus becomes that of France and it records four titles with the arranger Alain Goraguer, Jazzman and type-setter who in particular worked with Boris Vian. First constraint of its artistic director: not to interfere with Isabelle Aubret, then large high-speed motorboat, it must give up its first name of Isabelle to become “France” with the scene.

Major team for minor

The day of its 16 years, the October 9th 1963, the most unexpected gift that France receives is surely the first diffusion of its songs to the radio. It is the title headlight, would not be so stupid , which obtains a fulgurating success. France places at the 44e place of the Hit-parade of Salut the buddies of November (behind You do not believe in it of Michel Berger and in front of Mamma of Charles Aznavour). Denis Bourgeois has a brilliant idea then. The career of its foal Serge Gainsbourg tramples in spite of several albums with its credit, as well as compositions estimated for singers left bank like Michele Arnaud or Juliette Gréco. He asks Gainsbourg to write for France. The type-setter signs does not listen to the idols on the 2nd 45 lathes of France, titrates which at the head places hit-parade of March 1964. With success, it leaves the Lycée Paul-Valéry where it redoubled its third. Paris Match of the March 21st 1964 devotes to him an article for the first time. In parallel, it takes its first steps on scene the April 14th while passing in first part of Sacha Distel with the Ancienne Belgium of Brussels. She inherits the business manager of this last, Maurice Tézé, which is also lyric writer. Under the crook of this team made up of old wolves of the trade, France will enormously have difficulties in defend the choice of its repertory (the only song which it has coécrite, with his/her father, is Pense of me on a music jazzy of Jacques Datin, one of the 4 titles of its first 45 turns).

Nevertheless, this team will allow him to create an original repertory, whereas the majority of his/her colleagues Yéyé S resort systematically to the adaptations of Anglo-Saxon successes.

In addition to her father and his Patrice brother, it will owe his successes of the Années 1960 with the feather of the more great authors and French type-setters, of which many works are registered with the inheritance of the popular song: Middle-class Gerard, Jean-Pierre Bourtayre, Vline Buggy, Pierre Court, Joe Dassin, Jacques Datin, Pierre Delanoë, Jean Dréjac, Alain Goraguer, Hubert Giraud, Georges Liferman, Magenta Guy, Eddy Marnay, Andre Popp, Jean-Michel Rivat, Jean-max River, Gilles Thibaut, Frank Thomas, Maurice Vidalin and Jean Wiener. If they give to the first child wife of the French-speaking song of the often stereotyped texts of a teenager seen by adults, it is Serge Gainsbourg which will bring the strange note by promoting it “Lolita French”. Moreover, the highly elaborate orchestrations of the jazzman Alain Goraguer will harmonize and unify the style of that which thus indifferently will sail between jazz, children's songs and ambiguities. With the scene, it will be successively accompanied by the groups “Patrick Samson and Phéniciens” and by “the French. ”

This period sees leaving Jazz to gogo (words of Robert Gall and music of Goraguer), like My first true holidays , work of the tandem Datin - Vidalin. Gainsbourg-Gall association is dissociated during the summer 1964 with the tube Laisse to fall the girls reinforced by Christiansen from the Datin-Vidalin duettists. Meanwhile, Gainsbourg collected its laughter to stick it on Pauvre Lola , one of the songs of its album Gainsbourg Percussions which appears the same year. At the end of 1964, France yields at the requests of its managers by recording one 45 turns intended for the children. His/her father writes to him, on a music of the type-setter Georges Liferman, the title which it records with regret, Sacré Charlemagne : Crowned Charlemagne , I was sick, I remember, I did not like that at all. I did not like it and yet I let it leave. It is you to say to which point I did not control the situation.

1965, the year of all successes

Sacré Charlemagne is sold with more than 2 million specimens by crossing the limits of France to make sing all the schoolboys of the Japan to the the United States while passing by the Africa (this song will become even the anthem of the Algerian youth movement!).

France is then selected to represent Luxembourg with the Concours Eurovision of the song. It is it which will have win by choosing Poupée of wax, headstock of sound on the 10 titles that one proposes to him. March 20th, the team of the “3 G”, Gainsbourg-Gall-Goraguer, are with Naples where the Contest is held of Eurovision. The song, hooting at the time of the repetitions, will then be defended by France of a voice badly ensured in front of more than 150 million televiewers and like she says it itself, “towards and against all”.

The singularity of the song astonishes and she is elected Grand Prix. Success exceeds the European borders and Gall less records it in step than five languages, of which Japanese. One nothing chauvinistic, the French public is moved and reproached Gall and Gainsbourg to have gained for Luxembourg and not for their own country. Vis-a-vis the popularity of this song of France, a company of gadgets manufactures, at the rate of 15 000 specimens per day, a headstock of vinyl to its effigy in the shape of a key-ring.

France leaves for a round summer several months with a capital on the French roads with the Cirque France . His/her Philippe brother replaced the bass player of the orchestra. It continues to garner the successes written by Gainsbourg: there is Attends or go away then, with the end of the year, We are not angels like America of the lyric writer Eddy Marnay and the type-setter Guy Magenta.

A destiny without cinema

An emission for the television, carried out by Jean-Christophe Averty and devoted to the songs of France, is distributed to the the United States in 1965.

France is then had a presentiment of by Walt Disney to incarnate Alice with the country of the wonders in a musical version which it wishes to carry out after having already made Alice in cartoon in 1951 and with which it is not satisfied musicalement. It is the only cinematographic project which France answers favorably, whereas she always asked her entourage “to prevent it from making cinema” (sic). Unfortunately, Disney, already seriously sick, dies the December 15th 1966 and its idea disappears with him.

The Destiny seems to have heard the petition of France because, when a film is again considered in 1993 for a cinematographic collaboration with the scenario writer Telsche Boorman, this project will also disappear with the death from Telsche in 1996.

Lastly, in 1996, last attempt. She contacts Jean-Luc Godard, of which she in particular liked her film New wave (1990), so that it carries out the Clip his song Plus high following the exit of his album France . Godard, which, up to that point, had never been requested to turn a clip, accepts. They put out of box, in the offices of the scenario writer with Rolle (Suisse), a minifilm, because Godard, after having viewed full of clips, said to him: One will not do that nevertheless, you are of agreement. That will lead to pictorial and oneiric the Plus oh! which, after its single diffusion the April 20th 1996 on M6, will be interdict of antenna, Godard not being discharged of all the royalties (see section “the interpreter and its authors”).

1966, pop year, lollipops and failure

The year 1966 begins with a new tube from Gainsbourg Pop Baby , a text that France qualifies the “brutal one”, but which one will not listen to the blackness of the words sung by this 18 years gamine

On the other hand, the following work of Gainsbourg, the Lollipops , with accompanying notes by the supported remarks of its author, will start a wind of scandal growing with the wire of the months. This success agrees badly with the other naive songs of the same disc, such as I Marie in white and That makes me laugh . More especially as, in parallel, in the spectacle televised Viva Morandi , which falls under the psychoanalytical mobility of last film of Fellini, Juliette of the spirits (1965), France incarnates one of the two young girls in flowers, exits of the mouths of shades, which disturb yéyé Italian the Gianni Morandi with the research of the love (song extracted the emission: When one is together). It is “the Grace” which also sings the Lollipops (with a sign specifying “Imagination”) at the sides of Christine Lebail which is “the Purity”. These contradictory interpretations of the Sucettes divert and cause a faintness which France does not leave unscathed when it understands, well too late, that it was handled with a media aim.

From now on, its next discs, even expurgés of the signature gainsbourgienne, are suspectés meanly mercantile aimings. Thus, it will be taxed with Nécrophilie with its song dedicated to the son of John Kennedy, Good evening John John . It will not make any more success before a long time and its association with Gainsbourg, sullied, will not function any more. Even some of its songs for children recorded in 1966 will not save not very pleasing judgments to him, because suspected of being pernicious ( particular Lessons ). The corrosive settings in scene of Jean-Christophe Averty making him order a herd of men with four legs to illustrate his children's song I found my dog in his television program the green Grapes do not arrange the things.

Baby shark, LSD and decline

With the beginning of the year 1967, its duet with Maurice Biraud, Small the , evoking a gamine coveted by a friend of the father, will trail this disc to the bottom while eclipsing poetic the Néfertiti of Gainsbourg.

Its 45 turns according to will be recorded with the orchestrator David Whitaker, talented English type-setter. New authors, Frank Thomas and Jean-Michel Rivat, associated to the type-setter-singer Joe Dassin, wrote for France Bébé shark , success which occults all the other titles. Teenie Weenie Boppie , song with which Gainsbourg signs a load against LSD, makes a large failure which marks the end of their collaboration at the time when Gainsbourg diversifies its productions for France, in particular with their next duet devoted to the capital punishment, Which remembers Caryl Chessman? which will not be marketed.

It records, always with Whitaker, another 45 turns with a new work of the trio gaining Thomas, Rivat and Dassin, You whom I want , but that does not function any more. Superb arrangements, like those of the Indian Song , composed by Whitaker, do not save the disc.

Revolution, emancipation and mislayings

As of 1966, France starts a career in Germany where it records regularly until in 1972 with a specific team, in particular with the type-setter and orchestrator Werner Müller. High-speed motorboats like the actor Horst Buchholz ( the Seven Mercenaries ) or the type-setter of film musics Giorgio Moroder ( Midnight Express train , Top Gun ) write to him Love, the love und liebe (1967), Hippie, hippie (1968), Ich liebe dich, so wie of the bist (1969) and Mein Herz kann man nicht kaufen (1970). Besides many Germans will believe for a long time that France is of their nationality. Some of its other German successes: Haifischbaby (Baby shark) , Die schönste Musik, die be gibt , Was will ein Boy (1967), has Bandaged (Zwei Apfelsinen im Haar) , DER Computer NR 3 (1968), I Like Mozart (1969), Komm put to mir nach Bahia , Miguel (1972).

In France, in 1968, it finds its orchestrator Goraguer for his new disc. Four titles, the jazz the Time of the tempo (words of Robert Gall and music of Goraguer), the pop Dady da da (of the words of Pierre Delanoë on the music composed by Michel Dovecote for the code of the magazine TV Dim, Prejudice, Dom ), the folk the Old maid of Rivat and Dassin and traditional the Hello! Mister up there of the type-setter Gerard Gustin with words written by the actor Philippe Nicaud, are swept by the storm of May 68.

Its following songs, in spite of sensual and delicate the jazzy Y' has sun to sell written by Robert Gall on a music of Hubert Giraud or the pretty compositions of Dassin ( 24/36 , Souffler the candles ), do not arouse interest. France profits, at the end of 1968, of its recent majority, 21 years at the time, and of the expiry of its contract at Philips the same year to fly of its own wings while separating from Denis Bourgeois.

It records beginning 1969 for a very new recording company, the Company , born from the association of artists like Hugues Aufray, Nicole Croisille and Michel Colombier.

With the Company and Norbert Saada like Music producer and artistic director, France begins his crossing of the desert with recordings where the best often goes côtoyer the worst without it never succeeding in finding a style coherent. She is mislaid as of 1969 with two adaptations: one originating in Italy, the Storm (Pioggia) which it however defends with Gigliola Cinquetti with the Festival of Sanremo 1969 and the other created by the British Barbara Ruskin, the Mad years (Please Gentlemen) . The best is ignored, such quite high People of Franck Gerald and Hubert Giraud and the Manila and the revolution of Boris Bergman and Hubert Giraud and, in 1970, Zozoï , words of Robert Gall on a music of Brazilian the Nelson Angelo and the Elephants , words of Jean Schmitt and music of Jean Géral. Moreover, its recording company the Company goes bankrupt.

In 1971, it will be the first artist to record in France for the American label Atlantic. But even with prestigious authors like Jacques Lanzmann and its It is that the love (on a music Blues of Paul-Jean Borowsky) or Etienne Roda-Gil and her Chasse snows , nothing does not function. France turns over to see Gainsbourg by thinking that only something can him. He writes to him, in 1972, Frankenstein and, on a music of Jean-Claude Vannier, the Small balloons which it records for the label EMI-Pathé, but that does not go either. She works then with Jean-Michel Rivat as artistic director and, in spite of the maturity of the texts of this one, it is always failure with 5 minutes of love (1972) and By pleasure or Plus high than me (1973).

In 1971, it takes part with her Patrice brother in a romantic picture story that the magazine Télé Pocket publishes in 8 episodes. It is at the beginning of the Années 1970 that France takes the practice to go regularly ressourcer in a country with which it fell in love, the Senegal. It will build its “residence-refuge” on the island of Gor close to Dakar in 1990.

The meeting of the Shepherd

It is while hearing with the radio, one day of 1973, the song Attends me interpreted by Michel Berger that France Gall is subjugated by her music. At the time of a radio program, she asks to him whether he could deliver his opinion in connection with the songs to him which its producer would like to make him record. Although it is disconcerted by the poverty of the songs suggested with Gall, it is not question of work between them. They are only six months later, in 1974, after it made to a voice on the title My son laughs at the rock' roll of the new album of Shepherd and, after the editor of Gall proposed to him, that he will agree to write for it. The singer already ruled in her head that “It will be him or it will be nobody. ” Thus was born in 1974 the Declaration of love , the first success of a long list and that the career of the singer took a new rise: First disc, first song. I awaited this first once so much that when he played me the song with the piano, I was… how to say… disappointed a little. I dreamed of a rhythmic song, and here me is with a sensual declaration. The day of the studio, I was tended a little. After one or two catches, Michel was content. In the tread, he asks me to write a text spoken on AD lib about the end as if I had done that all my life, to write! He realized that it missed a solo of guitar at 2 o'clock in the morning. Broken down, it opens the door of the studio and crosses a guitarist who worked at side and which returned at his place. In fifteen minutes, the guitar of Jean-Pierre Castelain printed on the tape 16 tracks where the piano of Michel, omnipresent, gives to him only the quite particular swinging of this song, which he at the beginning had written for him. First gift. The public was there immediately.

Family and musical creation

Like a premarital gift, Michel Berger devotes her Numéro 1, diffused the May 22nd 1976 on TF1, with the writing of a Musical comedy, Emilie or the Small Siren 76 , inspired by the famous tale of Hans Christian Andersen and whose heroin is, of course, France Gall. There will remain a pretty duet of the couple about it, success of the summer: That does not balance badly in Paris . The two artists marry exactly a month after, with the town hall of the 16th district of Paris, the June 22nd 1976. By this alliance, France Gall becomes the daughter-in-law of the professor Jean Hamburger, member of the French Academy, and the pianist Annette Haas. From this union will be born two children: Pauline Isabelle (Neuilly-sur-Seine, November 14th 1978 - Paris, December 15th 1997) and Raphaël Michel (Boulogne-Billancourt, April 2nd 1981). Gall divides with Berger his years of work and a family life which it privileges. Under the impulse of Shepherd, it takes again taste with the scene. In 1978, it goes up again on the boards, those of the Théâtre of the Fields-Élysées (where it auditioned 15 years earlier), for a titled show Made in France . One of the originalities of this spectacle is that, except the Brazilian disguised duettists the Stars which ensure an interlude (disputed) in medium of spectacle and with which France connects with a Brazilian adaptation ante Shepherd, Plus high than me (Maria vai COM ace outraged) , it is exclusively made up girls with the orchestra, the choruses and the dance.

France, princess in her palates

In 1979, it is a new spectacle in which France will take part and which will remain in all the memories. The Opéra-rock Starmania will be presented for one month to the Palais of the Congresses of Paris. Composed by Michel Berger and writing by the Québécois author Luc Plamondon, it will be the success which one knows, whereas this musical genre did not meet the favors of the producers in France

In 1982, during several weeks with closed counter, France Gall will invest the Sport hall of Paris to present an innovative spectacle without spangles and strass, but high colors and in electric musics. It will be All for the music whose public will take again in chorus these titles become since standards of the French song: Resists and It played of the piano upright.

Music and humanism

The Années 1980 are those of the great humanitarian actions whose impulse is given by the Anglo-Saxons and them Band Aid. France Gall will join the Chanteurs without borders, on the initiative of Valerie Lagrange and under the aegis of Renaud, to offer, in 1985, a S.O.S Ethiopia with the profit of the country in question. That does not prevent it, in parallel, from taking over Renaud same, with new the Zenith of Paris, for a series of concerts during three weeks. She will interpret, increasingly accompanied by her public, of new songs as Débranche , Hong-Kong Star and will deliver acoustic wonders such as Plus high , free Diego in its head and Cézanne painted .

The years 1985 and 1986 will see France Gall with Michel Berger, Richard Berry, Daniel Balavoine and Lionel Rotcage, to work in particular for the Mali thanks to their association Action Schools. They are voluntary schoolboys who will collect food products of first need for these countries of Africa where prevails the famine and the dryness. Thus, of the tons of foods and the water pumps will be dispatched under the vigilant eye of the artists.

It is besides at the time of a voyage in Africa that Daniel Balavoine will find death in an accident of helicopter the January 14th 1986. France Gall will sing in 1987 moving it Évidemment writes by Berger, in homage to their missing friend. This title is reproduced on the album Babacar . A new spectacle will follow which, Zenith of Paris, will leave in round in all France. It will be dazzling it Tour de France 88 put in scene by Berger.

The Star loses its Shepherd

France Gall will want to take retreat and will not record any more during the years which will follow. She will agree to take again the way of the studios only on the condition of recording an album with Berger. She will invest herself like never in this creation with two votes, not completely a duet: this Double game will surprise in 1992.

Gall and Berger announce to a series in concerts in various Parisian rooms like the Cicada and Bercy. Unfortunately, the project will be stopped by the brutal disappearance of the song writer and performer, struck down by an heart attack, the August 2nd 1992. Marked by this disappearance, serious health issues and the death of elder their children in 1997 of a Mucoviscidose, France Gall, if it made since new appearances on the music scene ( Bercy 1993 , Pleyel 1994 , Olympia 1996 ), forever found the dash which seemed to be it his of living of her husband.

The interpreter and his authors

Higher than me, higher, more oh! : Am your music where it goes…

In 1996, for its album France , when it begins again and réorchestre its song Plus high appeared initially in 1980 (album Paris, France ), Gall does not cease being astonished by this text written by her husband and who resounds like a prophecy. It does not matter, it is its profession of faith to it, its inalterable devotion with its in love missing who would take care on it of up there and would guide it:

Plus high,
Celui that I like saw in a beautiful monde
Plus,
Bien above the level of the words,
Dans a universe with the repos
Et if I say to him yes,
Il takes me along with him…

It cannot be prevented from referring to another song, always prophetic according to it, a title which it recorded in 1973 right before its decisive meeting with Berger and whose text is due to two great sizes of the French song: Yves Dessca and Jean-Michel Rivat. They are, for the circumstance, the adapters of this Bossa nova resulting from the feather of two icons of the Brazilian song, the type-setter Toquinho and the poet Vinicius de Moraes, of which the original Maria vai COM ace outraged (Maria goes with the others) becomes in French Plus high than me :

Toi which make jumps higher than me,
Toi which can sing, to sing higher than me,
Toi that the reason does not stop,
Toi which can dream, carries me,
Saute the gray walls, carries to me
Dans your horizon, your life, carries me,
Toi which see further that over there moi
Et higher than me…

The obsessing image of the prince come from up there and who will take it along still higher is put in scene for the first time by Robert Fortune for his spectacle Tout for the music given to the Sport hall of Paris in 1982. In the middle of the famous song higher , a white clown emerges up there, in precarious balance on a wire, then goes down to final to carry in its arms France fallen in lethargy in order to withdraw it from gravity and the vicissitudes of this low world…

It associates this vision with the councils which the “Berger producer” gives to suction “the Emilie singer” in the musical tale televised Emilie or the Small Siren 76 :

Chante them the words to move,
Fais to know your capacity,
Et to them is until the ouest
Et north until the sud
Suis your music where it goes…

So much so that it places this song interpreted by Berger in prolog of his last public concert at Olympia in 1996, thus attesting sound inébranlable fidelity with its author. It delivers its personal version of Plus high accompanied by “the musicians of which it dreamed” ( sic ). Previously, she wished that Godard, the man with the camera “which makes the women beautiful” ( sic ), produce the clip of it. They meet, include/understand and deliver remarkable the Plus oh! where of the “Oh! ” filled with wonder emerge from the mouth in heart of the singer succumbing in front of the recurring images of the hero fleeing with his dulcinée in its arms towards a white paradise, elsewhere intangible, inexpressible heights…

The legend of the lollipops

Gall had sung innocently the Lollipops and besides this song would have had a raison d'être if the interpreter had known in advance?

To maintain the legend and the sulfurous side the business, Gainsbourg enjoyed to tell the following history. A journalist would have asked France:
- Pourquoi don't you sing any more the Lollipops ?
Elle would have answered what Gainsbourg described as “admirable word”:
- It is not any more my age.

However, in the emission With your wishes of France Inter of the March 30th 1976, here question and answer authentic recorded: Does
- What think France of its old successes, such as Charlemagne or the Lollipops ?
- It is not any more my age, Charlemagne , in any case.

Enigma gainsbourgienne

In 2003, Universal leaves CD Volume N° 5 ( S.0.S. Misses) its compiled anthology Pop to Paris . It is with surprise that one discovers and intends France Gall to sing a title says “new” written by Serge Gainsbourg in 1967, Bloody Jack , with same the music and arrangements that those of his song gainsbourgienne Teenie Weenie Boppie left the same year. The text of this Bloody Jack is identical to that of the song to the title éponyme that Gainsbourg will interpret in 1968 on a completely different music. To thicken the mystery, Zizi Jeanmaire will begin again, always in 1968, the version of Gainsbourg with a slightly modified text.

A inspirer

Ruptures

Its sentimental ruptures with its two successive promise in marriage-singers Claude François and Julien Clerc are worth us, on behalf of the abandoned ones, of the last cicatricial songs to the posterity:

1967 : Claude Francois, As usual (words of Claude François and Gilles Thibaut, music of Claude François and Jacques Revaux):

Toi, you will have left,
Pas still returned, as usual,
Tout only, I will go coucher
Dans this great bed cold, as usual,
Mes tears, I them cacherai
Comme usually. - Comment of France: The monster which the song describes, it was not me!

1975 : Julien Clerc (black album N°7 ), Souffrir by you is not to suffer (words of Etienne Roda-Gil and music of Julien Clerc). To exacerbate her prayer so that it returns, Julien Clerc asks for the musical contribution of the Gall family. He entrusts the orchestration of this song to Philippe Gall, one of the brothers of France, while he puts Denys Lable, one of his cousins, with the guitar:

Moi which piled up memories by idleness,
Ce is your old pullovers which I cherish,
Maintenant, like front,
Doucement, remain with the présent
Pour the life, today, remains… here - A Waste of time and effort, France and Michel Berger are already in love…

Union

Michel Berger, on the other hand, will never deliver but luminous declarations of love to him:

1974 : the Declaration , or car-declaration by interposed interpreter! (Words and music of Michel Berger):

Quand I am alone (E) and that I can dream,
Je dream who I am in your arms,
Je dream that I do all to you bas
Une declaration, my déclaration.

1983 : Light of day (words and music of Michel Berger). Shepherd says “That one to him, I wrote it for you”, made unusual for that which considered that to write on happiness was not interesting:

Tu be my light of day,
Tu are my ultimate recours
Et if the weight is done too heavy,
J' calls your name with my help,
Lumière of the day… - France will make, later, this reflection: Lastly, at the end of seven years of marriage and after two children…

Quotations

In this connection

Serge Gainsbourg: I thus remained attached to France Gall since it is nice. It is very décriée, but I find that it is rather disgusting because it makes a difficult trade, it is very young, it earns its living, it is courageous. It has much freshness and freshness of heart, which is rare.
Serge Gainsbourg: If you can open this oyster, you will find the pearl… If not, you will fall on a mussel.
Charles Aznavour: It will last because it is not large. The small ones compensate by an insane work.
Jacques Attali: It is a enigma, by its transparency even, it escapes any classification in its simplicity; it is a force by its brittleness; it is with listening in its loneliness. It is France, well beyond its name.

Itself

This public of young people of my beginnings, I like it because it is most faithful which is.
I do not like to cause the scandal. I like that me am liked.
One day, one asked Gainsbourg if it had somebody of less than thirty years with statufier and it said something which upset me: " It would be France Gall. It would be an immense sugar statue of barley and all the children would come to lick the fingers to him. "
I am the girl of the dad of Mamma .
An interpreter, already that she does not write the words and the music, so in more she pricks the songs of the others, if she does not create the song, that does not have a great interest.
In connection with Serge Gainsbourg : It is somebody whom I had of the pleasure to see because I admired it and I liked what he wrote. And I liked his timidity, his elegance and his education. It was very pleasant like relation. I was very impressed that this man works for me and is interested in me…
Its decisive meeting with Michel Berger : That transformed my existence, my life. That alleviated me.
I will never write autobiography. My book, it was this self-portrait which I wanted possible most sincere. The singers do not cheat. To sing, it is not simply to go to seek air and to arise it in words and notes. It is to give, deliver themselves, expose themselves.
In connection with its change of first name : I always was against " France " , I found that it was too hard. " Isabelle " , that I corresponded to me liked that. I do not know what occurred so that I start to like my name. And maintaining it is " France Gall ". It is exactly me.
“When you prepare a spectacle, you known as that it is perhaps the last? ” : Not, but I say myself that I will not offer any more of the quantities, that it is sure… But it is not the last, because the last it will be Michel and me. While waiting, you do not imagine how much I will benefit from it, of that one. You cannot imagine you! From each evening, each second; one needs that I pile up a maximum, emotions, memories, for “after”… Because the day when I will stop, it will be something of very painful… But it is a thing to which I prepare since years already. As long as I feel near to my public, that goes. But one day I will stop, it is sure. I believe that what will be stronger than my passion for this trade, it is fear all to waste. Because what frightens me especially, it is the idea to return account to me only I age, and whom I do not speak any more the same language. It is that which will make me take down: when I do not speak “their” language any more. And I want that it is by my own will, across my sadness.
That there remains something of me indiffère. I am not as these political personalities which test the need to make build a monument in order to leave a tangible trace of their passage: me, I build only my life…

Testimonys

Zouzou : I know France Gall, called Babou, since 1965, but we are really close only since the Seventies. We went on journeys to London to furnish the country house with Julien Clerc, with which it lived, and then lived at home, before moving in with Michel Berger. I like them much both. France is one of the people whom I know who can best receive. Initially, it is a cuisinère except par. And especially, it can organize dinners with people who should never get along, but it always has the knack to defuse the tensions. With it, all always finishes in bursts of laughter. The laughter is besides the angular stone of our relation. We spend the hours to us marrer. When I play theater, France and Michel come to see me, and each time, I know that it is in the room only by hearing its laughter.
Jacques Draper, during an emission of RTB during Years 1980: The commonplaces, I hate. They are seldom checked. Thus this noise which runs that it is not to better mix work and the love. Those and those which manage to reconcile both, sorry, are happier than the others! For proof, today I think: Michel Berger and France Gall.
France Gall had the head on the shoulder of Michel Berger. He was late, we had made a good emission. France had sung has cappela Jean-Sebastien Bach: one great moment! Michel had improvised with the piano and had sung itself: With half, with half, at all , a song which one liked much at the time. And we spoke about the life, the trade, the time which passes, of the love. We had the same ones passed and they belonged to our existence. It was undoubtedly a shared moment of happiness! This tenderness of couple. Not pretended admiration of the woman for the man-creator and the love of the man for the woman-artist. They knew each other so well in their qualities as in their defects. France shook its blond and launched:
- At the house, I obeyed to him only when it is with the piano!
Et all occurred then in their glance in love…

Anecdote

Claude Dejacques, producer at Philips in 1966, conceives to leave, for on April 1st of the same year, a album-gag in which the largest artists house exchange their respective tubes. Thus, France Gall takes again to fine bit of goods , a great success of Juliette Gréco in 1961 while Anne Sylvestre takes again America , a tube of France Gall in 1965. As much of original ideas, the album fish of April 1966 will remain in the wall cupboards of Philips, one is unaware of for which reasons.

Its songs with the cinema and the theater

Cinema

1966 : Objective 500 million of Pierre Schoendoerffer: Say to your captain
1994: Portrait of an young girl of end of the year 60 in Brussels of Chantal Akerman: Baby shark (Collection TV of Arte, All boys and girls of their age ).
1995 : the Age of possible the of Pascale Ferran: Babacar
1997 : One knows the song Alain Resnais: Resists
1998: the girl of a soldier never cries (Soldier' S Daughter Never Cries has) of James Ivory: Teenie Weenie Boppie
1999 : But I' m has Cheerleader of Jamie Babbit: Chick Dress (Drops the girls) , version étasunienne interpreted by April March
2006: Which likes me follows me of Benoit Cohen: the Declaration of love
2007: Boulevard of dead (Death Proof) the of Quentin Tarantino: Chick Dress / Drops the girls , versions étasunienne and French interpreted by April March

Theater

2007 : the Sisters-in-law , comedy of Eric Assous, put in scene of Jean-Luc Moreau, with François-Eric Gendron, Sabine Haudepin, Manual Gélin and Élisa Servier: the Declaration of love (Saint-Georges Theater of Paris and turned in 2008)

Distinctions

1965 : Grand Prix of the Eurovision Contest of the song for the Luxembourg with Headstock of wax, headstock of sound , words and music of Serge Gainsbourg, orchestration of Alain Goraguer.
1987 : Victories of the music, category “Artist interprets female year”.
1993 : Godmother of association Established among .
1994 : Chevalier of the Legion of Honor.
1994 : Trophy Women out of Gold - Section “Spectacle”.
2006 : Godmother of association Heart of Women .

30 great successes for 30 years of career

1963 : would not be so stupid , adaptation French by Pierre Delanoë of Stand has Little Closer , original work American written and composed by Jack Wolf and Maurice “Bugs” Bower
1964: does not listen to the idols , words and music of Serge Gainsbourg
1964: Drops the girls , words and music of Serge Gainsbourg
1964: Crowned Charlemagne , words of Robert Gall and music of Georges Liferman
1965: Headstock of wax, headstock of sound , words and music of Serge Gainsbourg - 1st Grand Prix of the Eurovision Contest of the song 1965 for Luxembourg
1965: America , words of Eddy Marnay and Magenta music of Guy
1966: pop Baby , words and music of Serge Gainsbourg
1966: the Lollipops , words and music of Serge Gainsbourg
1967: Baby shark , words of Jean-Michel Rivat and Frank Thomas, music of Joe Dassin
1974: the Declaration of love , words and music of Michel Berger
1974: But, likes to it , words and music of Michel Berger
1975: How to tell him , words and music of Michel Berger
1975: Samba mambo , words and music of Michel Berger
1976: That does not balance badly in Paris , words and music of Michel Berger, in duet with Michel Berger, extracted the televised musical comedy Emilie or the Small Siren 76
1977: Music , words and music of Michel Berger
1977: If, mom, if , words and music of Michel Berger
1978: Viens I take you along , words and music of Michel Berger
1979: Need for love , words of Luc Plamondon and music of Michel Berger, extracted the Rock opera Starmania
1980: It played of the piano upright , words and music of Michel Berger
1980: To give to give , words of Michel Berger and Bernie Taupin, music of Michel Berger, in duet with Elton John
1981: Very for the music , words and music of Michel Berger
1981: Resists , words and music of Michel Berger
1981: free Diego in its head , words and music of Michel Berger
1984: Disconnects , words and music of Michel Berger
1984: Cézanne painted , words and music of Michel Berger
1987: Babacar , words and music of Michel Berger
1987: Ella, it has it , words and music of Michel Berger
1987: Obviously , words and music of Michel Berger
1992: Let pass the dreams , words and music of Michel Berger, in duet with Michel Berger
1996: higher (2nd version), words and music of Michel Berger

Discography (nonexhaustive)

Compilations

1990 : the Years music - 2 CD, compilation 1974-1988, Warner Music
1992: Headstock of Sound - 1 CD, the years Philips 1963-1968, Polydor
1992: Headstock of Sound - 4 CD, the years Philips 1963-1968, Polydor
2000: 1968 - 1 CD, Polydor
2001: France Gall - 3 CD, long box, integral of the years Philips 1963-1968, Polydor
2002: Best Off - 2 CD, the years Philips 1963-1968, Polydor
2003: France Gall - 2 CD, the years Philips 1963-1968, Polydor
2003: Pop Baby - 1 CD, Polydor
2004: Obviously - 1 CD, anthology of the years Shepherd, Warner Music
2004: Obviously - 2 CD, anthology of the years Shepherd, Warner Music
2004: Obviously - 3 CD, anthology of the years Shepherd, Warner Music
2004: Obviously - Integral, anthology of the years Shepherd, Warner Music
2005: When one is together - 2 CD, compilation of the impossible to circumvent songs of Shepherd and Gall, Warner Music
2006: Gold - 1 CD, Polydor

Participations

1964 : Serge Gainsbourg, album Gainsbourg Percussions , title Poor Lola (words and music of Serge Gainsbourg). France is “the laughter of Lola” (not credited).
1967 : 1st disc of Mireille Darc (super 45 turns), duet on the title does not seek to like (words of Roland Valade and music of Jean-Claude Olivier).
1974 : Michel Berger, album Songs for a fan , voice on title My son will laugh at the rock'n'roll' roll (words and music of Michel Berger), it is “the love which arrives, the other part of him. ”
1985: The Chanteurs without borders record the disc S.O.S Ethiopia (words of Renaud and music of Franck Langolff) in order to come to assistance of the African country victim of the famine. The profit of the sales will be transferred with association Doctors without borders.
1993 : the Dumbs sing Starmania with the Large market of the Villette, solo on title a boy not like the others (words of Luc Plamondon and music of Michel Berger), with all the others for the world is stone (words of Luc Plamondon and music of Michel Berger) and for the Song of the Restaurants (words and music of Jean-Jacques Goldman).
1994 : the Dumbs with the Large Rex, duet with Francis Cabrel on Ella, it has it (words and music of Michel Berger), with all the others for the Song of the Restaurants .
1994 : Renaud Hantson, album Of the wounds and the bumps , choruses on the titles BOF generation (words and music of Renaud Hantson) and Four seasons (words of Renaud Hantson, music Fabien Kreicher and Eric Fermentel).

Television

1965 with 1966: Marie-Mathematics , Cartoon animated Jean-Claude Forest and Jacques Ansan - the laughter of Marie-Mathematics is that of France Gall while Serge Gainsbourg sings, on a music of her composition, texts written by André Ruellan - 6 5 minutes episodes, Noir and white - Series diffused within the framework of the emission Dim, Dam, Dom of Daisy de Galard, 2nd chain ORTF
1966: Viva Morandi with Gianni Morandi and Christine Lebail, role of “the Grace” - Duration 60 mn, Black and white - 1st chain ORTF
1967: the Rabbit of Christmas - Tale written by Roland Topor for Dim, Prejudice, Dom - Production of Daisy de Galard - Realization of Georges Dumoulin, role of the traffic policeman - Duration 25 mn, colors - 2nd chain ORTF
1974: Our correspondent with Madras - Telefilm with Sacha Pitoëff, role of the secretary - Duration 25 mn, colors - Diffusion the March 10th on the third chain
1976: Emilie or the Small Siren 76 ( Number one Michel Berger ) - musical Tale of Michel Berger and Franck Lipsick - Realization of Marion Sarraut, role of Emilie - Duration 56 mn - Diffusion the May 22nd on TF1 - Publication of DVD INA/Editions LCJ in 2005 and republication in 2007 - Image.
1978 : Number one France Gall - Realization of Marion Sarraut - Duration 68 mn - Diffusion the March 11th on TF1
1982: Very for the music (France Gall with the Sport hall) - Emission carried out by Mathias Ledoux - Duration 58 mn - Diffusion the October 3rd on Antenna 2
1985: Formula 1/France Gall - Emission carried out by Andre Flédérick and produced by Maritie and Gilbert Carpentier - Duration approximately 70 mn - Diffusion the April 6th on TF1
1987: General public/France Gall - Emission presented by Patrick Sabatier - Duration approximately 70 mn - Diffusion the April 10th on TF1
1993: Taratata N° 15/France Gall - Emission presented by Nagui and carried out by Gerard Pullicino - Duration 70 mn - Diffusion the April 10th on France 2
1993: Fréquenstar - Emission presented by Laurent Boyer - Diffusion the April 25th on M6
1994: Taratata N° 39/France Gall - Emission presented by Nagui and carried out by Gerard Pullicino - Duration 70 mn - Diffusion the February 12th on France 2
1996: Taratata N° 146/France Gall - Emission presented by Alexandra Kazan and carried out by Gerard Pullicino - Duration 70 mn - Diffusion the November 5th on France 2
1997: acoustic Concert - Realization of Stephan Rybojad - Duration 83 mn - Diffusion the April 26th on M6
2001: France Gall by France Gall - Self-portrait carried out by Eric Guéret - Duration 105 mn - Diffusion the October 9th on France 3
2002: Michel Berger by France Gall - Portrait carried out by Philippe Gautier - Duration 115 mn - Diffusion the December 30th on TF1
2007: All… for the music - Emission diffused in homage to Michel Berger disappeared 15 years ago - Presented by France Gall and realized by François Hans - Duration 130 mn - Diffusion the November 21st on France 2

Videotex

1978 : Live with the Theater of the Fields-Élysées , Super 8
1986: France Gall with the Zenith , theater the Zenith (Paris), VHS - Republication in 1989
1988: the Tour de France 88 , VHS
1988: Portrait in round , VHS
1994: Bercy 93 , VHS - Republication in 2006 in 1 DVD Area 2,90 minutes (Warner Vision France) - Setting in scene of France Gall and Herve Lebeau - musical Direction of France Gall - Decorations of Jean Haas - With the participation of the Rap fear of association Established among - video Realization of Gerard Pullicino - Words and music of Michel Berger, tracklisting:
1. Let pass the dreams - 2. Fight - 3. the white Paradise - 4. Cézanne painted - 5. Dashes of the heart - 6. Obviously - 7. Disconnects - 8. the Declaration of love - 9. If, mom, if - 10. It is difficult to be a man also - 11. I need you - 12. It played of the piano upright - 13. the Minute of silence - 14. the Song of the fair Negress - 15. Miss Chang - 16. Ella, it has it - 17. Never to leave
1997: public Concert Olympia , VHS
2004: Obviously , 5 clips DVD all areas, included in an special edition doubles CD + 1 DVD - Tracklisting: 1. Disconnects carried out by Jeep Novak (1984) - 2. Ella, it has carried out by Bernard Schmitt (1987) - 3. Obviously realized by Michel Berger (1988) - 4. Let pass the dreams , in duet with Michel Berger, realized by Philippe Gautier (1992) - 5. Resists carried out by Philippe Gautier (1997)
2005: Emilie or the Small Siren 76 , televised musical tale of Michel Berger and Franck Lipsick, 1 DVD Area 2, INA/Editions LCJ (televised original emission recorded in 1976) - Republication in May 2007 and November 2007

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