The Belgian snow rose - Lara Fabian

Excuse me for beginning this post with a little rant, but the fact that Lara Fabian isn't worshipped like a goddess, is irrefutable proof that there is no justice in this world. With that out of my chest, allow me to begin :-) . As it happened with Céline Dion, I have found it pointless to try to make some sort of biographical ‘article’ about La Fabian, mainly because every possible aspect about her life has already been divulgated, but also because it is even less dramatic than Céline Dion’s. There are no heartbreaking choices, a love that’s been sacrificed or a meteoric explosion into glory after years of misery in Lara Fabian’s life. As it happens with her music, everything about her has been a measured collection of happy moments and wise, well-meditated decisions driven by the sheer power of her voice, which reflects the unbendable strength of her determination to succeed.

Gifted with an impeccable voice that is object of significant discussion among her fans (finding out whether she is a coloratura soprano, as Hugues Gall, the then director of the renowned Opéra National de Paris, enthusiastically declared in 2001; or a mezzo, as Lara likes to refer to herself, takes a significant part of the lives of her fans), La Fabian majestically belts, gracefully chirps, delicately whispers and beautifully bares her soul both on record and across scenarios all around the world with an elegance and modesty that are both mystifying and admirable. Simply put, she is superb.

However, something strange about Lara is that she is neither mutable nor adaptable as a singer; stubbornly fixed on her vision of herself as a 'traditional' belter, she explores her art by encasing it within the confines of her voice and forcing it to find a new form of expression in every varying colour and wanton changes during performances. This places Lara in a category of her own, because she remains alien to changing trends in music or to the notion that singing in her native language is equivalent to personal and artistic freedom (as it happens with Céline Dion) – Lara is always the same, even though she definitely sounds more comfortable performing in any other language besides English.




I like to compare Lara’s voice to a blossom that combines incomparable beauty with cold, impossibly detached technical precision; which is not to say that her music is devoid of emotion – her particular feelings and experiences are what colours and gives substance to her singing, making Lara and her voice two separate entities united in their aim to please and enthrall an audience. This could be reflected in this interview (followed by an amazing performance of Lucio Dalla’s Caruso); in it, Lara mentions how her love for her mother and the closeness she has always felt with her grandmother give her singing in Italian an enormous personal value. Italian is the language or Lara’s early childhood in the beautiful region of Catania, in Southern Italy: French, Spanish, German and English would come a bit later (mind you, only a bit later), when she moved back to her native Belgium. This ability to express her own feelings through music while using her voice as a mere instrument is what makes La Fabian so incredibly special, and her albums such a wonderful experience.

However, not all things about Lara are positive. Sadly, as of late she has been indulging excessively in her insufferable (and erroneous) Barbra Streisand-inspired attempts at giving greater emotional resonance to songs by sucking all the life from them with empty, soul-less displays of perfectly melodious droning. Which is fine (my grandmother loves it), but we should not forget that Barbra has only managed to be memorable whenever she has actually bothered to perform her songs, rather than partaken in her solipsistic love for her own voice and public persona. Quite frankly, I cannot imagine anyone being capable of listening to most of La Streisand's records without falling into a coma (there are very notable exceptions to this, of course, and I shall talk about them soon enough) - what made Lara so special is that she was never afraid to show off that she is a vibrant, technically proficient performer with a wonderful, hurricane-powered voice. Not just a whispering ego with no musical taste whatsoever, which is what she seems to want to emulate for some strange reason.



And well, we finally come to the selection I’ve made for today. I hope you enjoy it and, as always, I remind you to go to buy her records. Fnac or Amazon are both good options.

Je Suis Malade/I Am Ill

The spectacular first single of the marvelous album Carpe Diem/Seize The Day (1994), this ode to desperate, hopeless love was first made a classic in 1973 by singer/songwriter Serge Lama. Few words could express how beautiful this song is, nor how utterly and most completely wonderful Lara manages to make it with almost no effort at all. Delicately, the melody navigates through sorrowful piano scales that tiredly build a melancholic atmosphere, only to be overshadowed by the instrumental and vocal explosions that take place during the choruses. The end is simply spectacular, with Lara belting away up to a deafening climax. Watch this wonderful live performance and be amazed.

Je T'Aime/I Love You

My favourite song by Lara, this was the second single (and GIGANTIC hit – so much so, it has become a classic) from her 1996 album Pure. If you just have to buy an album by Lara, this is it. Especially if like myself, you cannot be satisfied unless and album has an abundance of ballads, you are going to be delighted! However, and as impossible as it might seem, this song is far above the rest in quality – or better said, this should have turned Lara into a legend. The song delicately navigates from slow, delicate verses to the stormy choruses, which will thunder their way into your heart (oh-my-god, tell me that that display of shitty, cheesy and stupidly bad writing isn’t mine – I should just quit this blog and start writing Harlequin novels ;-P) with the force and passion of a torrential rain. If you are one of those sad persons who love to torture themselves by listening to melodramatic love songs after their relationships have ended – why do I keep letting people into my darkest, filthiest secrets? – you’re gonna love this. And if you are even remotely human, you will as well. Video of a live performance.

La Différence/The Difference

After receiving three e-mails politely objecting to the inclusion of Carola in this blog (sorry guys - the Bee Gees made me weak!), I have decided to redeem myself by including this beautiful anti-homophobia anthem, which was originally released as an independent single and included as part of Pure in later pressings (I told you it was an amazing album). It also happens to be the second biggest hit from the album – rapidly reaching the number one position in France, and staying in the top ten for over three months. There’s not much to say about this songs besides the fact that the lyrics are fabulous, and inspirational – far from being a ridiculous Kumbaya-inspired preachy, condescending mess (which is what most songs with a social message are), it just tells how gay people are normal people and, well, that’s it really. Video.

J'y Crois Encore/I Still Believe It

This is a sample of Lara’s Streisand-esque newfound style. However, it is a rather interesting ballad (that’s why I have included it :-) ), and one of the highlights of the lovely 2001 album Nue/Naked. It has a rockier sound than her previous songs, and the change suits Lara wonderfully! Needless to say, this is much more interesting than the majority of things that Barbra Streisand has ever done (the majority, but not all - let's take a moment to remember that La Streisand's high points are unsurpassable by any mortal), but it nevertheless is tinged by her style. Great song! Video.

Adagio (Italian Version)

After this overdose of French songs, what about a little touch of Italian to remind us how awesome Lara is in her mother tongue? Directly lifted from Baroque composer Tommaso Albinoni’s overused to death Adagio (Pachelbel’s Canon et Gigue is a close second, ugh!), this could have been disastrous, but Lara wisely focuses on performing it as a delicate heartbreak song and leaves all pretences of classical legitimacy aside (not because she can’t have them by the way – unlike that fat sow Mariah Carey, Lara is an opera singer first and foremost). The ending is particularly impressive, with a thunderous final belt that will leave you awe-struck. Video of a superb live performance.

Otro Amor Vendrá/Another Love Shall Come (I Will Love Again)

And I couldn’t leave without including a danceable song. You all know about this track, so I’m just going to say that Lara’s Spanish is impeccably pronounced, and she sounds infinitely more comfortable singing in it than in English. This version was a HUGE hit in Spain and Latin America (the summer of 2001 I happened to travel both to Mexico and Argentina, and it was impossible to escape from this song – it was everywhere!!!). What I like of this version is the bridge, which Lara belts at full force, unlike in the English version, which has an annoying F5 in head voice. Lovely! Video.

The summer storm from Québec - Céline Dion

Originally I had thought about writing a rather lengthy introduction full of biographical details, to introduce Céline Dion’s French language material, but then again, I just thought that people have already been exposed to every imaginable detail of her life as to have reached the point of saturation a long time ago. From her humble beginnings as the languid, shy little girl from a poor rural Québecois family to local star to a gradually more admired (and successful) pop diva, Céline’s joys and tribulations are more than well-known by all – even those who would rather listen to a snoring, grunting bear than to one of her songs.

In spite of her eventual massive success and the admittedly clinical nature of her English language albums (which should be credited as marvels of technology, since the only human-produced sound in them is her impeccable soprano voice – the rest seem to be mostly remnants of a distant galactic battle), Céline has kept an earthiness and vivaciousness that only appear to emerge when she sings in her native tongue, and is given something more than affected, deliberately melodramatic ballads. Which is perfectly fine, but at 70-minute lengths it does become grating, especially since most of them are just plain awful.

La Dion's voice reminds me of a Summer storm: you know, one of those sudden explosions of deafening rain, fresh air and roaring thunder that seem to be a celebration of life and are there to remind us that there's always something magical and unexpected lurking underneath the boredom of daily life.

Anyway, it would seem that Céline is only given the material she deserves with the frequency she should have it when she prepares a French language album :-(. In these albums, which explore every imaginable musical style from the perspective of a mellow, yet somewhat dressed up pop/rock folksiness that would scare the average every girl, but suits a sophisticated, mundane diva like Céline marvellously, she blossoms into a passionate, carefree chanteuse whose immense sensitivity vibrates in every note, giving meaning and life to every single word, giving a purpose to every loud cheer or hopeless cry (ugh, not again! It looks like a have one of my cheesy days ;-P).



Anyway, I just wanted to share with you some of Céline’s amazing French language songs, but first got to buy her albums, well, anywhere! :-D Or else go to Amazon, that’s always a safe bet ;-).

Destin/Destiny

This wondrous acoustic rock song is, like most of Céline's French output, strongly influenced by folk. It also happens to be my second favourite song from hers. The lyrics are extremely beautiful and poetic, but what truly makes them shine are first, the otherworldly melody (which is simply magical), and second, Céline's extremely passionate delivery. Released as part of her legendary 1994 album D’Eux/The French Album -a record breaker in every sense-, this song ought to have been a single, but remains as one of her brightest undiscovered gems. It is, needless to say, beyond beautiful. No words are worthy of describing it.

Dans Un Autre Monde/In Another World

This is a notoriously old-fashioned song that vaguely reminds me of Van Halen’s only tolerable moment, ‘Jump!’ Only, it is rather poppy and wasn’t written to suit Céline’s voice – its creator, Jean Jacques Goldman, decided that the 1998 album S’Il Suffisait D’Aimer/If Loving Each Other Was Enough would be made as if it were to be sung by himself. The contrast between the rough, almost aggressive melodies, the percussion rich instrumentation and Céline’s silvery soprano is amazing, and makes this album one of her brightest moments.

Tout L'Or Des Hommes/All The Gold Of Men

This gorgeous rock song is one of the many highlights of Céline’s somewhat laughable attempt at going ‘edgy’, 1 Fille Et 4 Types/A Girl and 4 Blokes. However, I would like to note that this isn’t laughable because it’s bad in any way. Quite the contrary, the songs are some of the best she’s ever sung. It’s just that watching a performer of Céline’s stature mirroring petty Britney wannabes in Joan Jett disguise (Avril Lavigne anyone?) in the album’s booklet is a bit strange, to say the least.

Quand On N'a Que L'Amour/When We Only Have Love

This live performance of the Jacques Brel classic is one of La Dion’s most impressive feats, because she manages to sum up a storm without resorting to belting the explosive high notes for which she’s famous. I know that this may sound a bit embarrassing, but the first time I heard this I was moved to tears – it is simply superb, and the lyrics are just wonderful. This is one of the few songs that manage to be inspirational without being laughably trite, as it truly awakens feelings of brotherhood and solidarity within one. Gorgeous.

Sous Le Vent/Under the Wind - duet with Garou

To close the selection, I've chosen this MASSIVE hit from 2000. It is a very melancholic ballad that’s basically pushed by both Garou’s raspy vocals and Céline’s majestic presence, which lifts it to the level of an epic love song. Even though it isn’t the most complex of songs in terms of melody and arrangement, it nevertheless preserves a certain ‘earthiness’ that makes it irresistible, giving an emotional depth to it that few other songs could have. Beautiful!

The French prophetess of mystical nonsense - Mylene Farmer

One of the greatest stars ever in France and a master in orchestrating massive publicity campaigns out of nothing, Mylène Farmer is a techno/pop singer who has carefully crafted the perfect image to go with her peculiar brand of music: ethereal, calculatedly aloof and visually alluring. Known for her frequently unintelligible lyrics full of intricate pop culture references and the sweet, sugary vocals with which she sublimates the stout, fleshy melodies that most of her songs have (courtesy of her long time collaborator, Laurent Boutonnat), Miss Farmer is a world class illusionist in pop star disguise; or a fairy of pretension that has learned to masterfully produce all the ticks and odd mannerisms of a musical alchemist. Or maybe she’s just laughing of us all, as we just look on like idiots.

Born in Québec to a family of French immigrants, La Farmer lead a very simple and uneventful life before her family moved back to France when she was eight. This experience was an enlightening one for her, because it opened her world to the marvels of Romantic and Realist French literature, often being able to walk through the places described in most books – from there onwards, Mylène would have a fascination with Gothic culture and the darkest aspects of the human condition.

Known for her extremely creative and elaborate videos, which are always built around and within her songs, lengthening and modifying them to suit the twists and turns of the story they intend to tell, Mylène has often met criticism for the heightened sense of erotica that most of her videos deploy, as well as her apparent fascination with violent and/or unsettling images. With images of her being alternately burned alive or devoured by wolves, playing an angel chained to a steam engine while singing about AIDS or impersonating two twin sisters who lead opposite lifestyles, and are left in shock after their first, unexpected encounter only to be separated again when one of them is murdered by her pimp (who is then murdered by the twin left alive - isn't this the best soap opera you've ever read about? :-) ) Mylène has both fascinated and scandalized the French people over two decades with her love for pushing the envelope and taking exaggeration to unsuspected heights of kitsch.



Even though most of her material could be classed as ‘techno pop’, Farmer has often embraced other styles, venturing into hip hop/rock and almost-classical music whenever she felt the need to leave her comfort zone. She's also the brain behind the phenomenon that was Alizée, who will be, of course, object of a future post. If you want to buy her records, go to Amazon France.

Libertine

This synthesizer crazy song is the very definition of 80’s music! It is dead fun and combines an aggressive, cold background with Mylène’s overly sweet vocals and the inescapable chorus, which will have you enthralled with its airy harmonies and high pitched vocal hooks. It was her fourth single and first truly massive hit, turning her into a superstar and making of her début Cendres De Lune/Moon's Ashes one of the highest sellers in France during 1984. The video is, like all of Mylène’s, extremely imaginative and melodramatic, with her posing as a man and engaging in all sorts of crazy behaviour. This video is also the first one in history to show several people completely naked (including Mylène).

Désenchantée/Disenchanted

Mylène’s greatest hit ever, this is one of those songs that become inextricably linked to a particular time, both because they define it and because they are bound to it musically. I cannot imagine anyone releasing this now… Or maybe not! In 2002 Kate Ryan made a version of this, and it managed to be quite successful on the strength of a very good remix. Still, I prefer Mylène’s version, which sounds far fresher and more dramatic. This comes from the album L’Autre/The Other One, from 1991, and is the only one of Mylène’s singles to have a high chart placing in most European countries. The anti-child labour and police state video, which takes place at a Russian gulag, is spectacular!

California

The closest that Mylène has ever come to doing a power ballad, California is a strange song that delightfully manages to express the bizarre feelings of amusement, curiosity and emotional tension that most Europeans feel when they visit one of those grotesquely impersonal juggernauts that are major American cities. However, it does it over what could be described as a lazy hip-hop beat and an oppressive, yet surprisingly sparse instrumentation. With lyrics that border on what could be described a borderline psychotic state of euphoria, this is one of her more accomplished works of deliciously contrived and irresistible pop mastery. As it always happens with Mylène, the video is mesmerizing - the twins I talked about before are here! :-D.

Fuck Them All

The first single from her latest opus, the utterly strange-yet-alluring work Avant Que L’Ombre/Before The Shadows, this song is a journey into what seems to be Mylène’s vision of a world that exists only through fast-running images. The video is very bizarre, with Mylène being caged, fighting effigies made of cloth that bleed when she strikes them, and a wonderful final scene in which she disintegrates after having attained freedom by defeating her 'enemies'!