Excerpted from Yé-Yé Girls of ’60s French Pop. Copyright © 2013 Jean-Emmanuel Deluxe. All rights reserved.
Published by Feral House
In spite of its light-as-a-bubble appearance, pop music can tell us more than many a sociological essay. Take, for instance, one of the songs Serge Gainsbourg penned for France Gall, “Baby Pop” (1966):
Sur l’amour tu te fais des idées
(You get ideas about love)
Un jour ou l’autre c’est obligé
(One of these days you’ll end up)
Tu seras une pauvre gosse
(As one poor kid)
Seule et abandonnée
(Alone and forsaken)
Tu finiras par te marier
(You’ll have to get married)
Peut-être même contre ton gré
(Maybe even against your will)
À la nuit de tes noces
(On your wedding night)
Il sera trop tard pour
(It’ll be too late)
Le regretter
(For you to regret)
Chante, danse Baby pop
(Sing and dance, Baby pop)
Comme si demain Baby pop
(As if tomorrow, Baby pop)
Ne devais jamais Baby pop
(Would never, Baby pop)
Jamais revenir
(Never have to come back)
Chante, danse Baby pop
(Sing and dance, Baby pop)
Comme si demain Baby pop
(As if tomorrow, Baby pop)
Au petit matin Baby pop
(In the early morning)
Tu devais mourir
(You just had to die)
Annie aime les sucettes
(Annie loves lollipops)
Les sucettes à l’anis
(Anise-flavored lollipops)
Les sucettes à l’anis
(Annie’s anise lollipops)
D’Annie
Donnent à ses baisers
(Give her kisses)
Un goût ani-
(A real taste of Ani-)
sé lorsque le sucre d’orge
(-se as the barley sugar)
Parfumé à l’anis
(Anise-flavored)
Coule dans la gorge d’Annie
(Pours into Annie’s throat)
Elle est au paradis
(She’s in heaven)
Fifteen years later, Lio sang more or less the same thing on “Banana Split,” with music by Jay Alanski and lyrics by Jacques Duvall:
Baisers givrés sur les
(Frozen kisses on)
Montagnes blanches
(Snowy mountains)
Na na na
On dirait que les choses
(Seems things)
Se déclenchent
(Are going to start)
Na na na
La chantilly s’écroule
(Whipped cream is falling down)
En avalanche
(In an avalanche)
Na na na
And in between these two huge hits by two icons of French pop music? May ’68, the first oil crisis, the women’s lib movement, the abortion laws, coming of age at eighteen, gay and lesbian activists (the FAHR, the Gazolines). Glam, punk, new wave. The end of the Vietnam war, the Six-Day War, General de Gaulle’s and Pompidou’s deaths, the second TV channel (in color!), then the third. Scorsese and Coppola’s New Hollywood, then a return to the serials of yesteryear, such as Star Wars.
If I’ve gone through such a long list, it’s to insist on the fact that the two smash hits I’m mentioning serve as a good introduction to the zeitgeist of the periods in which they were written. Both tried, odd as it may seem, to match the mood and preoccupations at the time. One has to have intuition (or be completely unconscious of the consequences, which is often the same thing) to write a song that will help define its time and become a standard. And of course, one needs a singer who corresponds to an archetype of the era itself. France Gall in 1965 and Lio in 1980 were indeed miles apart: Gall gentle and naïve, and Lio a Girl Power pop-feminist singer.
Studying what the girls in pop music have achieved since the 1960s, it’s shocking to discover how the ways women express themselves have changed. However, it’d be a huge misunderstanding to think that the female pop singers of fifty years ago were mere puppets, prompt to follow the orders they were given without questioning. Jacqueline Taïeb was a true songwriter, as was Françoise Hardy — and Stella’s humor was as sharp as Jacques Dutronc’s. Contrary to popular belief, girl bands didn’t start with Les Calamités in the mid-eighties. In the 1960s, groups such as OP4, Les Fizz, Les Gam’s, or Les Milady’s had no reason to envy their male counterparts.
In the 1980s, Lio was very close to working with the Human League, and recorded Suite Sixteen with Sparks. Her “Banana Split” was adapted into English and became the irresistibly kitsch “Marie-Antoinette”:
It’s the economy, it’s really bad, na na na.
What do they want of me?
I’m really mad, na na na.
Let them eat pizza, let them eat cake.
Na na na na na na na na na…
Today, because of the changes in production and distribution, female French singers tend to think more globally: Helena Noguerra (who’s half French and half Belgian) is probably going to sing exclusively in English on her next album, while the American Francophile April March is currently working with French band Aquaserge. The differences are being blurred, identity is becoming multiple, and the choices are much wider after more than forty years of struggle in a sexist business.
But let’s not be unfair: there were (and still are) men who mentor and encourage female artists. To name but a few: Jacques Dutronc, Étienne Daho, Jacno, Jacques Duvall, Jay Alanski, Bertrand Burgalat, Olivier Libaux, and Marc Collin. And, of course, Serge Gainsbourg.
And now I’ll leave you to explore this panorama of Gallic girly pop. I hope that through this book you’ll come to share my passion for these extraordinary women!
Feral House Deluxe Yé Yé Mix Deux by Feral House on Mixcloud