The late
Serge Gainsbourg
made a name for himself fairly early in his recording career with his combination of
French cabaret
music, bordello
jazz
, and drunken musique
exotica
. His second effort features
Gainsbourg
with a cigarette, appropriately seated at a worn desk littered with roses, a long-nosed 38 caliber placed squarely in front of him, and a quizzical, daring look on his puss that seems to say, "Can't figure it out? Of course!"
actually attempted singing in the early days, before his voice began to go and all he could do was whisper or rant his crazy poetry. Here he fronts
the Alain Goraguer Orchestra
on eight selections that are as typical of his oeuvre as
Love on the Beat
was nearly 30 years later. His topics are the seduction site of the jukebox on
"Le Claquer de Doights"
and a theme based on
d'Alfred de Musset
's
"Night Doctor."
There are also a couple of
Latin
-styled numbers in
"Mambo Miam Miam"
and
"Indifferente,"
with a serious
Stan Getz
-aped sax solo in the middle eight (not to mention a crazy TV western theme as a
cabaret
song in
"Jeunes Femmes et Vieux Messieurs"
). This is truly the beginning of
's hepcat legend, and musically, for all the kitsch and gimmick, it comes across as totally sincere in its campy chariot. This is why we dig
French pop
, and this is why
holds sway with everyone from
Nick Cave
to
Angie Stone
. ~ Thom Jurek