ANIMAL ON EST MAL by GÉRARD MANSET

FRENCH POP LYRICS: LES GARÇONS PART 3

Gérard Manset is a slightly mysterious figure who has developed a cult following as a singer-songwriter in France. He never gives concerts and rarely appears on television, which has added to his mystique. He first recorded in the late 1960s, but apparently he hates his early recordings, and for this reason they have never appeared on CD.

This excellent track was a single in 1968. The wild lyrics contain a lot of wordplay that makes them difficult to translate. The song also appears on Manset’s first album, which is an intriguing set of dark songs with touches of psychedelia and impressive orchestral arrangements.

ANIMAL ON EST MAL Animal, on est mal On a le dos couvert d'écailles On sent la paille Dans la faille Et quand on ouvre la porte Un armée de cloportes Vous repousse en criant "Ici, pas de serpent !" Animal, on est mal. Animal, on est mal. Animal, on est mal. On a deux cornes placées Sur le devant du nez On s'abaisse On s'affaisse On a la queue qui frise On a la peau épaisse On a la peau grise Et quand on veut sortir Avec une demoiselle On l'invite à dîner Quand elle vous voit Que dit-elle ? "Il ne vous manque qu'une bosse. Vade retro, rhinocéros !" Animal, on est mal Animal, on est mal Animal, on est mal On assiste à l'opération de la girafe La voilà qui se retrouve le cou plein d'agrafes Elle appelle au secours On veut lui mettre un pantalon Mais il est trop court Animal, on est mal On pond ses oeufs dans le sable Et quand on passe à table Les chevaux-vapeurs Ont pris peur De se retrouver loin de leur étable Animal, on est mal Animal, on est mal Animal, on est mal Et si l'on ne se conduit pas bien On revivra peut-être dans un peau d'un humain Animal, on est mal Animal, on est mal Et Dieu reconnaîtra les siens...

ANIMAL, WE ARE SICK Animal, we are sick Our backs are covered with scales We can smell the straw In the crack And when we open the door5 An army of woodlice Pushes you back, shouting "No snakes allowed here!" Animal, we are sick Animal, we are sick Animal, we're bad. We have two horns On the front of our nose We stoop We slouch Our tails curl We've got thick skin We've got grey skin And when you want to take A lady out You invite her to dinner And when she sees you What does she say? "All you're missing is a hump. Go retro rhinoceros!" Animal, we are sick Animal, we are sick Animal, we are sick We assist in the giraffe's operation Its neck is full of staples It calls out for help We want to put it in trousers But they're too short Animal, we are sick You lay your eggs in the sand And when we come to the table The steam horses Are afraid to be Too far from their stable Animal, we are sick Animal, we are sick Animal, we are sick And if we don't behave Maybe we will live again in human skin Animal, we are sick Animal, we are sick And God will recognise his own...

DAS WIRTSHAUS by SCHUBERT

GERMAN POP LYRICS: WINTERREISE 21.

The longer this journey goes on, the darker it seems to get, so it’s hardly surprising that this inn turns out to be a graveyard. This is an arrangement of “Das Wirtshaus” with the tenor Scot Weir backed by two guitars.

DAS WIRTSHAUS Auf einen Totenacker hat mich mein Weg gebracht; Allhier will ich einkehren, hab' ich bei mir gedacht. Ihr grünen Totenkränze könnt wohl die Zeichen sein, die müde Wand'rer laden ins kühle Wirtshaus ein. Sind denn in diesem Hause die Kammern all' besetzt? Bin matt zum Niedersinken, bin tödlich schwer verletzt. O unbarmherz'ge Schenke, doch weisest du mich ab? Nun weiter denn, nur weiter, mein treuer Wanderstab!

THE INN My way has led me to a graveyard I can stop here for a while I thought to myself Your funeral wreaths must be the sign That invites weary travellers into the cool inn Are all the rooms in this house already taken? I’m so exhausted I could collapse I am mortally wounded Oh pitiless inn are you turning me away? Then onward, lead me onward my faithful walking stick!

SON DE LA LOMA by TRIO MATAMOROS

The Year 1928: Part 4 (Cuba)

The Trío Matamoros was a Cuban trova group, trova being a kind of music usually played by travelling musicians. Their leader Miguel Matamoros wrote this song in 1922 and the group first recorded it in 1928. It was inspired by an incident at a concert when a mother and her daughter asked the group where they came from. The trio were all born in Santiago de Cuba, the second largest city in Cuba after the capital Havana.

SON DE LA LOMA Mamá, yo quiero saber de donde son los cantantes que los encuentro muy galantes y los quiero conocer con su trova fascinante que me la quiero aprender. ¿De dónde serán? ay mamá. ¿Serán de la Habana? ¿Serán de Santiago, tierra soberana? Son de la loma y cantan en el llano, ya verás... tú verás Mamá, ellos son de la loma; mamá, ellos cantan en el llano. Mamá, ellos son de la loma; mira mamá, ellos cantan en el llano; mamá, ellos son de la loma.

THEY COME FROM THE HILLS Mummy, I want to know Where those singers come from They are so gallant And I want to meet these troubadours And learn Their fascinating songs Where do they come from mummy? Are they from Havana? Are they from Santiago? Are they from a sovereign land? They come from the hills and sing on the plains You'll see... you'll see Mummy, they come from the hills Mummy, they sing on the plains Mummy, they come from the hills Look mummy, they sing on the plains Mummy, they come from the hills

DER WEGWEISER by SCHUBERT

GERMAN POP LYRICS: WINTERREISE 20.

This is another one of the songs from ‘Winterreise’ that the singer Gisbert zu Knyphausen reworked on his album “Lass irre Hunde heulen”.

NB ‘Ein Weiser’ is literally a wise man.

DER WEGWEISER Was vermeid' ich denn die Wege, wo die ander'n Wand'rer gehn, suche mir versteckte Stege durch verschneite Felsenhöh'n? Habe ja doch nichts begangen, daß ich Menschen sollte scheu'n, welch ein törichtes Verlangen treibt mich in die Wüstenei'n? Weiser stehen auf den Strassen, weisen auf die Städte zu, und ich wand're sonder Maßen ohne Ruh' und suche Ruh'. Einen Weiser seh' ich stehen unverrückt vor meinem Blick; eine Straße muß ich gehen, die noch keiner ging zurück.

THE SIGNPOST Why do I avoid the roads That other travellers take? And seek out hidden ways Through snow covered mountain caves? I have commited no crime So why should I hide away from mankind? What is this absurd yearning That drives me into the wilderness? There are signposts on these roads Pointing towards the towns Yet I wander on and on Without rest, in search of peace I see a signpost in front of me Unwavering before my gaze I have one road left to travel From which no one has ever returned

BARBARASONG by LOTTE LENYA

The Year 1928: Part 3 (Germany)

“Die Dreigroschenoper” (known as “The Threepenny Opera” in English), first performed in 1928, was perhaps the most important piece of musical theatre of its age. The lyrics by Bertold Brecht satirise society from a socialist perspective, while Kurt Weil’s music is influenced by both jazz and German dance band music. It soon became an international success, and the song “Mack The Knife” belatedly became a number one hit in the UK in 1959, performed by Bobby Darin.

Here Lotte Lenya, who played Jenny in the original production, sings “Barbarasong”. This classic recording dates from the 1950s.

BARBARASONG Einst glaubte ich, als ich noch unschuldig war (Und das war ich einst, grad sowie du) Vielleicht kommt auch zu mir einmal einer, Und dann muss ich wissen, was ich tu. Und wenn er Geld hat, Und wenn er nett ist, Und sein Kragen ist auch werktags rein, Und wenn er weiß, was sich bei einer Dame schickt, Dann sage ich ihm "nein" Da behält man seinen Kopf oben, Und man bleibt ganz allgemein! Sicher scheint der Mond die ganze Nacht, Sicher wird das Boot am Ufer festgemacht, Aber weiter kann nichts sein. Ja, da kann man sich doch nicht bloß hinlegen, Ja, da muss man kalt und herzlos sein. Ja, da könnte so viel geschehen, Aber da gibt's überhaupt nur "nein" Der Erste, der kam, war ein Mann aus Kent, Der war, wie ein Mann sein soll. Der Zweite, der hatte drei Schiffe im Hafen, Und der Dritte war nach mir toll. Und als sie Geld hatten, Und als sie nett waren, Und ihr Kragen war auch werktags rein, Und als sie wussten, was sich bei einer Dame schickt, Da sagte ich ihnen "nein" Da behielt ich meinen Kopf oben, Und ich blieb ganz allgemein! Sicher schien der Mond die ganze Nacht, Sicher ward das Boot am Ufer festgemacht, Aber weiter konnte nichts sein. Ja, da kann man sich doch nicht gleich hinlegen, Ja, da muss man kalt und herzlos sein. Ja, da könnte doch viel geschehen, Ja, da gab's überhaupt nur "nein" Jedoch eines Tags (und der Tag war blau) Kam einer, der mich nicht bat. Und er hängte seinen Hut an den Nagel in meiner Kammer, Und ich wusste nicht mehr, was ich tat. Und als er kein Geld hatte, Und als er nicht nett war, Und sein Kragen war auch am Sonntag nicht rein, Und als er nicht wusste, was sich bei einer Dame schickt, Zu ihm sagte ich nicht "nein" Da behielt ich meinen Kopf nicht oben, Und ich blieb nicht allgemein! Ach, es schien der Mond die ganze Nacht, Und es ward das Boot am Ufer losgemacht, Und es konnte gar nicht anders sein. Ja, da muss man sich doch einfach hinlegen, Ja, da kann man doch nicht kalt und herzlos sein! Ja, da musste so viel geschehen, Ja, da gab's überhaupt kein Nein.

BARBARA SONG I once believed, when I was still innocent, (And I was once as innocent as you) That perhaps someday someone will come to me, And then I will need to know what I'm doing, And if he has money, And if he is nice, And his collar is clean on workdays too, And if he knows how to treat a lady, I will tell him "no" That's when you've got to keep your chin up, And you keep it casual! Of course the moon will shine all night, Of course the boat is moored to the bank, But that's as far as things could go. Yes, you can't just lie down there, Yes, you must be cold and heartless, Yes, there's so much that could happen, But all there is is just "no" The first one who came was a man from Kent, He was just as a man should be. The second, he had three ships in the harbour, And the third was crazy for me. And as they had money, And as they were nice, And their collars were clean on workdays too, And as they knew how to treat a lady, I told them "no" I kept my chin up, And I kept it casual! Of course the moon shone all night, Of course the boat was tied to the bank, But that's as far as things could go. Yes, you can't just lay yourself down there, Yes, you must be cold and heartless, Yes, there's so much that could happen, Yes, but all there is is "no" However one day (and the day was blue) Someone came who didn't ask me. And he hung his hat on the nail in my chamber, And I didn't know what I was doing any more. And as he didn't have any money, And as he wasn't nice, And his collar wasn't clean on Sundays either, And as he didn't know how to treat a lady, I didn't say "no" to him. Then I didn't keep my chin up, And I didn't keep it casual! Oh, the moon shone the entire night, And the boat was untied from the bank, And it couldn't be otherwise. Yes, you just have to lie yourself down there, Yes, you can't be cold and heartless, Yes, so much had to happen Yes, there was no "no" at all.

ÇA M’EST ÉGAL by MAURICE CHEVALIER

The Year 1928: Part 2 (France)

Here is another amusing song from Maurice Chevalier, one of the biggest French stars of the decade.

NB This great translation is by Ilona Kemény at Lyrics Translate.

ÇA M'EST ÉGAL Il y a, j’en connais, Des tas d’ gens qui jamais N’achètent rien sans vouloir un rabais Ce n’est pas mon travers Et l’objet que j’acquiers Je le paye son prix même s’il est trop cher On peut m’empiler On peut me voler Ça m’est égal Sans demander combien Je n’ marchande rien Ça m’est égal Chez le bijoutier Chez le tailleur ou le bottier Je paye sans effort Même si on m’ fait le prix fort On m’ fait un bibelot Dix fois ce qu’il vaut Ça m’est égal Veut-on m’écorcher? J’ veux bien les lâcher Ça m’est égal Je fais mes paiements Royalement, oui mais seulement J’envoie les factures à papa Alors moi, n’est-ce pas, Ça m’est égal Sur le quai Malaquais L’autre jour, je flânais Suivi d’un gros caniche qui trottinait Comme ses poils étaient longs Un tondeur, près d’un pont, Me dit "Voulez-vous que j’ le tonde en lion?" Tondez-le en lion Ou bien en mouton Ça m’est égal Faites-en un griffon Vous savez dans l’ fond Ça m’est égal Faites-le en danois En épagneul, en pékinois Coupez-lui la queue Si vous trouvez que ça fait mieux Vous pouvez l’ raser Et même le friser Ça m’est égal Lui faire une friction Une ondulation Ça m’est égal Si c’est plus joli Faites-lui une mise en plis Car, comme ce chien n’est pas à moi Faites n’importe quoi Ça m’est égal!

I DON'T MIND I know quite a lot of people who never buy anything without seeking a discount That’s not how I do things And for the object I’m acquiring I’ll pay full price even if it’s too much You can trick me You can steal from me I don’t mind I never ask how much And I haggle for nothing I don’t mind At the jeweler’s At the tailor’s or the bootmaker’s I’ll pay without complaint Even if I’m made to pay dearly I had me a trinket made For ten times what it’s worth I don’t mind You want to skin me alive? I’m happy to let it go I don’t mind I make my payments Completely, yes, but solely I send all the bills to daddy Therefore me, am I right? I don’t mind On the quai Malaquais I was strolling the other day While a big poodle trotted after me My my, its hair was long A shearer near a bridge asked me “do you want me to shave him into a lion?” Shave him into a lion Or even a sheep I don’t mind Make him a griffin You know that deep down I don’t mind Do it in Danish or in Spanish, or Pekingese You can cut off his tail If you think that suits him better You can shave him Or even give him curls I don’t mind Give him a little rub Or a little wave I don’t mind If it’ll look nicer Give him a cut and shampoo Because this dog isn’t mine Do as you like I don’t mind!

EL CLAVO Y LA CRUZ by THE PLUGZ

This year is the 40th anniversary of “Repo Man”, one of the coolest films of its time. According to the director Alex Cox, initially he found it impossible to get the film shown in cinemas. It was only the success of the soundtrack that persuaded the men in suits that there was an audience for the movie.

The soundtrack is a snapshot of the LA punk scene, and it features the Latino band The Plugz. They sang mostly in English so this song is a rare opportunity to hear them singing in Spanish. Around this time they also backed Bob Dylan on the Letterman show.

The following year the band appeared in “Static”, another cult film, where they perform “In The Wait”. However, by this time the group was known as Los Cruzados. In the 1990s their frontman formed Tito and Tarantula who contributed to the soundtrack of “From Dusk ‘Til Dawn”.

NB I have some doubts about some of the original Spanish lyrics which made the translation difficult. Suggestions welcome.

EL CLAVO Y LA CRUZ El clavo de noche Nos habla con bote Nos hablan sus manos Noche tras noche, noche tras noche [Estribillo:] Soñando con carros Vatos no charros La cruz en sus brazos Por vida - con safo La cruz en sus brazos Por vida - con safo Camina por calles Buscando sin luz El lugar de su cruz De su cruz, de su cruz [Estribillo]

THE NAIL AND THE CROSS The nail of the night He's talking to us while he's drinking He's talking with his hands Night after night, night after night [Chorus:] Dreaming about cars Ordinary guys, not flashy The cross in his arms For life, keeping it safe The cross in his arms For life, keeping it safe Walking the streets Searching without light The place of his cross Of his cross, of his cross [Chorus]

BABY BOUM by BUZY

FRENCH POP LYRICS

The French pop singer Buzy, who has already featured a couple of times on this blog, died in November last year.

Buzy was a star in the 1980s, with her videos mixing cinematic ambition and French raunchiness. A similar formula would turn Mylène Farmer into a superstar. However, at the end of the decade Buzy’s career went into decline, though she continued to record albums. This single was released in 1987. RIP Buzy.

BABY BOUM Entre Madrid, Berlin Vivre dans les capitales de la nuit Compte à rebours, vivre pour l'amour3 Amour, bruit et vitesse Baby Boum aime bien Les morsures du destin Baby Boum Se fout de tout sauf de l'amour Et même au bord de la détresse Sublime, fragile, Comme une sculpture émotive De Miro à Warhol Baby Boum aime bien Vivre son destin Baby Boum Se fout de tout sauf de l'amour Entre Madrid, Berlin Errance sans alibi Voyage au bout de la nuit Baby Boum caresse Amour, bruit et vitesse.

BABY BOOM Between Madrid, Berlin Living in the capitals of the night Countdown, living for love3 Love, noise and speed Baby Boom likes it The bites of destiny Baby Boom Doesn't care about anything except love And even on the verge of distress Sublime, fragile, Like an emotional sculpture From Miro to Warhol Baby Boom likes it Live your destiny Baby Boom Doesn't care about anything except love Between Madrid, Berlin Wandering without an alibi Journeying to the edge of the night Baby Boom embraces Love, noise and speed

TÄUSCHUNG by SCHUBERT

GERMAN POP LYRICS: WINTERREISE 19.

It’s time to plod on through the snow!

There have been several attempts to create a film version of “Winterreise”. The one by Ian Bostridge and Julius Drake is simple but effective, and available in full on YouTube. A more recent BBC version by Benjamin Appl and James Baillieu was blessed with real snow, but only clips are currently on YouTube. There is also a much bigger budget version directed by Petr Weigl, but I think it will leave most people scratching their heads in bewilderment.

TÄUSCHUNG Ein Licht tanzt freundlich vor mir her, ich folg' ihm nach die Kreuz und Quer; ich folg' ihm gern und seh's ihm an, daß es verlockt den Wandersmann. Ach! wer wie ich so elend ist, gibt gern sich hin der bunten List, die hinter Eis und Nacht und Graus ihm weist ein helles, warmes Haus. Und eine liebe Seele drin ‐ nur Täuschung ist für mich Gewinn!

DECEPTION A friendly light dances in front of me I follow it, back and forth Happy to follow, watching it tempt the wanderer onwards. Ah, a man as wretched as I is glad to fall for this colourful trick That, beyond ice, night and horror shows him a bright, warm house. And a dear soul within Only through deception can I win!

TOP TEN SONGS OF 1928 (USA)

The Year 1928: Part 1 (USA)

1928 was another amazing year for music in the USA so I’ve decided to give it the full top ten treatment. Don’t forget to check out my similar playlist for 1927.

01 Blind Willie McTell – Mama, ‘Taint Long Fo’ Day

This is such a soulful, timeless record. McTell really was one of the blues greats, and it’s no wonder he inspired a tribute song from Bob Dylan.

02 Mississippi John Hurt – Frankie

Like McTell, Hurt sang in a more intimate vocal style than many of the blues singers who had released records before him. He recorded a great session in 1928, but it didn’t produce any hits and he returned to farming. Hurt disappeared from the music scene before being belatedly ‘rediscovered’ in 1963.

03 Blind Willie Johnson – Dark Was The Night

Blind Willie Johnson was a gospel singer, but he often appears on blues compilations. This wordless track is perhaps his masterpiece.

04 Washington Phillips – Take Your Burden To The Lord And Leave It There

Phillips is one of the most mysterious figures in gospel music. Nobody is even sure what instrument he was playing, but it could be some kind of zither.

05 Lonnie Johnson – Playing With The Strings

Lonnie Johnson had released his first single way back in 1925, which makes him one of the first bluesmen to be recorded. His jazz influenced guitar technique still sounds impressive today.

06 Duke Ellington – The Mooche

Lonnie Johnson also appears on this track, the first recording of one of Duke Ellington’s signature tunes.

07 The Carter Family – Keep On the Sunny Side

An early classic from the first family of country music. The song is actually an old hymn.

08 Jimmie Rodgers – Blue Yodel No 1

The Carters were already stars, but they were eclipsed commercially by ‘The Singing Brakeman’ (Jimmie Rodgers worked on the railways before he became a star). “Blue Yodel No 1” was one of the biggest hits of 1928, selling around a million copies. Both Rodgers and the Carters had made their first recordings at the Bristol sessions the previous year.

09 Bing Crosby – Makin’ Whoopee

This saucy song was one of the dancefloor hits of the year, with Crosby’s version making the top ten.

10 Allison’s Sacred Harp Singers – Weeping Pilgrim

Let’s close with an old hymn. This is a 1928 recording of a song from the Sacred Harp, a book that was first published in 1844. The tradition is still going strong a century later, and these days there are also groups in Europe, particularly in the UK and Germany.