Search - Serge Gainsbourg :: Gainsbarre

If you only own one French title

YA | SAN DIEGO, CA | 06/28/2004

(5 out of 5 stars)

"I'm French and as such I like Gainsbourg. No matter how provocative, edgy and anti-hero the guy was, every French person of every age loved and still loves Serge; that's what genius is all about. The guy created landmark album after landmark album from the 60's to the 90's, always reinventing himself, sometimes riding the waves of the times, sometimes preceding them. Serge was a true songwriter in the sense that his lyrics and his music perfectly fit each other. He was both a top lyricist and a top composer. Atmosphere is the key word in his art. This is especially visible in his brilliant album-concepts "l'homme a tete de choux" and "Melody Nelson". He was genre-agnostic and could come out with a Jazz, Rock, Pop, or Reggae album with equal success and without ever losing its own strong personality in the mix. Being published in France, Serge could indulge in explicit-yet-never-low-class lyrics. It also meant that his creativity was not curved by commercial considerations. For the last 50 years, French song-writing has been heavily influenced by giants such as Charles Trenet, George Brassens, or Jacques Brel. But if you only go with one, go with Serge. And if you want to sample his works through time, this combo is your best ticket. You won't be disappointed."

As good an introduction to the Man as you'll likely find

auldphart | Greensboro, NC USA | 03/02/2001

(5 out of 5 stars)

"I bought this one in France where he is still remembered by most as the man who set fire to a 100 franc note on tv back when 100 francs must have meant something. Serge went through several periods but the 3 cd's seem to break up his life-work into manageable bites: Early jazz raconteur, midlife hippie sex-god, worn-out reggae profligate. All are good - I'm not sure he ever did anything weak - and the parts I didn't like at first have grown on me so that I like everything equally.There are too many standout songs to mention, but current favorites include Couleur Cafe, chanson de Prevert, Sous le soleil exactement, L'ami caouette, Javanaise, Requiem pour un C, and several others I don't recognise the names of. If you've heard several covers of the songs Je t'aime moi non plus and Bonnie and Clyde (Luna), notably - these are good, but you'll be awestruck at the quantity and sheer quality of the others. This is music that will last - I'm confident that in 50 years people will still play music by Serge, Muddy Waters, and the Beatles."

IT'S HARD TO RÉSUME GAINSBOURG BUT...

ALAIN ROBERT | ST-HUBERT,QUÉBEC | 07/07/2001

(5 out of 5 stars)

"Here is a perfect start for anyone interested in GAINSBOURG'S music.This collection is an excellent overview that will give you the variety of his range.When LULU(his nickname) started recording in 1958,he was into his chansonnier trip,but his originality was all there from the beginning.He was willing to go elsewhere and quickly he included different influences like bossa nova and later on yé yé music(a sort of toned down BRITISH INVASION stuff with FRENCH overtones),disco,conceptual albums and even reggae and rap.It is that curiousity and overture to all kinds of music that makes him such an interesting figure.Ten years after his death,he has become a cult figure that new artists discover as years go by.GAINSBOURG was a complex man who didn't take himself seriously;that's a key aspect of his personnality.He was talented to be sure,no one can deny that.Like many great artists,he usually worked fast and often changed his songs just before he recorded them.Buy this and then buy HISTOIRE DE MÉLODIE NELSON and L'HOMME A LA TETE DE CHOU,his two masterful concept albums.It's clear now that LULU won't be forgotten by his fans,and to tell you the truth the guy deserves it."