Track 1 – Harley Davidson Track 2 – Contact
Brigitte Anne-Marie Bardot was born in Paris on 28 September 1934. Daughter to a very strict homemaker mother, Anne-Marie “Toty” Bardot and a wealthy industrialist Louis Bardot, she grew up in a middle-class Roman Catholic observant home, with her younger sister, Marie-Jeanne.
It was particularly tough for the young girls growing up with incredibly harsh, stringent parents. At one point in her young life, after an innocent playful incident, which lead to an accidental breakage of an expensive Chinese lamp, Brigitte was told by her parents, they would from that day on, disown her as a daughter, as she was to address them only in a formal way, as a stranger would. This alienated her for the rest of her life. Inwardly, Brigitte dreamed of escaping her rigid monitored world….and she would hunger for that missing love.
Her socially ambitious mother pushed her daughters to do well not only at school, but also at ballet. Brigitte had an adoration towards for dance, and progressed particularly well, however her younger sister, Marie-Jeanne didn’t share that passion, and eventually gave up the lessons and did not tell her mother. Brigitte worked hard with determined concentration, and in 1947, was accepted to the Conservatoire de Paris.
Gifted with ridiculous amounts of beauty, the young starlet was noticed during her ballet studies at 14, and was approached with offers of modelling, a direction her mother encouraged her daughter to follow. Soon she would have her first modelling experience in a fashion show in 1949. In the same year, she modeled for a fashion magazine Jardin des Modes and soon the stunning 15 year old appeared on the cover of the french edition of Elle magazine in March 1950.
Director and screenwriter Marc Allégret was captivated by this image of beauty, and ordered his assistant, who was a young upcoming rebel film director named Roger Vadim, to go out and find her. He tracked her down and Allégret quickly offered Bardot the opportunity to audition for Les lauriers sont coupés. There’s conflicting stories whether Bardot landed the role or not, but the film was cancelled, and it is certain that this opportunity made her consider becoming an actress. Vadim became immediately smitten by her pouty sensuality…Brigitte fell madly in love with this bad boy…she had never meet anyone like him before, and in 1952 the 22 year old became her husband. Her parents were infuriated, but funnily enough, the two newly weds had to spend their honeymoon night at her parents home, as they had no where else to stay. They were forced to sleep in separate rooms, and Bardot was not even permitted to kiss her new husband goodnight. But Bardot wasn’t too bothered…”we had our wedding night a long time ago”.
A new path had been laid out for Bardot, leading away from her early ballet desires…now it was a different stage and spotlight calling her name. 1952 saw the start of her acting career, and she would appear in obscure films, generally lightweight romantic dramas, some historical, in which she was cast typically as “Ingenue” or “Siren”, often appearing nude. But in ’57 she really became world-famous with the release of the Vadim’s controversial film Et Dieu créa la femme (And God Created Woman).
Vadim’s now infamous film was certainly the vehicle that launched Bardot into the public spotlight, immediately creating her “sex kitten” persona, making her an overnight sensation. When the film was released in the US, it pushed the boundaries of the representation of sexuality in American cinema, and most available prints of the film were heavily edited to conform with the prevailing censorial standards of 1957. The film was also condemned by the Catholic League of Decency. Bosley Crowther, the film critic for The New York Times, wrote, “Bardot moves herself in a fashion that fully accentuates her charms. She is undeniably a creation of superlative craftsmanship”.
A proper English TV journalist asked the vivacious but innocent Bardot about these sexy roles she was becoming famous for, “Do you really like doing these kind of films, or would you want to be a serious actor?”. B.B. replies “On no, I prefer this kind of films…I will be a serious actor when I get older”.
Vadim and Bardot separated in ’56 amidst rumors that Bardot was having an affair with her And God Created Woman co-star Jean-Louis Trintignant, but remained friends for the rest of Vadim’s life. He would later direct her in The Night Heaven Fell, and Don Juan, or If Don Juan Were a Woman.
Bardot would continue to follow her acting demands playing some very famous roles in new wave cinema. She later starred in Jean-Luc Godard’s 1963 masterpiece Le Mépris (Contempt) and Masculin Féminin in 66. Bardot was nominated for a BAFTA Award for Best Actress in a Leading Role for her part in Louis Malle’s 1965 film Viva Maria! Although she was in high demand in Hollywood, she continued to declined offers of filming in the US…she detested the way Marilyn Monroe was treated, a woman who she so much adored, and she didn’t have an enjoyable experience previously there. Eventually, Hollywood would accept her terms and they would have to come to France to film her, where she had a cameo in Hello Brigitte (which also starred Billy Mumy from Lost In Space fame, who apparently scored the first American on-screen kiss from the french beauty).
Bardot was appearing on record covers long before she first sang a note, and it’s pretty obvious the marketing strategy was aimed to appeal to the male audiences. She was plastered on covers for soundtracks to films she’s appeared in, unofficial tributes and promo records and of course, to her own musical efforts. Virtually everything Bardot-related is sort after, with collectors rarely distinguishing between albums merely depicting her likeness and ones on which she sings. But while there’s definitely a desirable kitsch and kookie wonderment about her recordings, I find that there’s a further unique beauty there, behind her stunning looks, that drew me in a long time ago, and which I have always obsessed over, for some time.
Bardot’s first 7″ vocal release was on the lullaby Sidonie, (delicate guitar work by Bardot) which was the first track on the Vie privée (A very private affair) EP in ’62, a film directed by Louis Malle which she herself starred in, alongside Marcello Mastroianni. This track was included alongside three instrumentals on a French EP issued by Barclay as well as a US single on MGM. An early version of “Sidonie” also appeared in the autumn of 1961 as part of issue 23 of ‘Sonorama’, the innovtive 7″-sized playable magazine which incorporated several flexidiscs to accompany the features. It’s such an adorable track…innocent, so gentle and so sweet!I love this side of Bardot!
Bardot had now signed to Philips, and the next year she would have two more Ep releases, Invitango and the great L’Appareil À Sous. The title track, penned by Gainsbourg (who was still concentrating on writing for other artists at this stage of his career), is a favourite upbeat dance floor spinner for me…1.24 mins. of french hip twisting mayhem! Her self titled debut album followed which was made available in two versions – a superb deluxe edition with a gatefold sleeve and a poster, and a standard single-sleeve album. The album contained a mix of styles and tempos, and included the beautifully strummed El Cuchipe sung in Spanish, and Everybody Loves My Baby sung in English.
The following couple of years she would continue to release fun pop french hits including Moi Je Joue (taken form her 64′ lp B.B) Bubble Gum in ’65, and the ever so dreamy Le Soleil in ’66, which had the fab off beat Gang Gang on the EP flip (these tracks were arranged by the British musical director Charles Blackwell, perhaps best-known for his work with Joe Meek in the early 60s).
In 1967, Gainsbourg was having some kind of an affair with Bardot, who was going through a difficult time with current husband, German businessman Gunter Sachs. One night in particular, Gainsbourg, who often was nervous around Bardot, drunk with his infatuation…and probably something more, made an ass of himself. And he was sure that this time, there was no hope in hell that Bardot would ever fall back into his arms. But Bardot’s request, as an apology, was that Gainsbourg write her the most beautiful love song he could imagine. That night he wrote two songs, Bonnie and Clyde, and also Je t’aime…moi non plus. They soon recorded an arrangement at a Paris studio in a two-hour session in a small glass booth, however, news of the recording reached the press and an angry Mr. Sachs! Bardot pleaded with Gainsbourg not to release it. He protested that “The music is very pure. For the first time in my life, I write a love song and it’s taken badly”.
But in 1969, Gainsbourg recorded a version with his new lover, Jane Birkin. The single had a plain cover, with the words “Interdit aux moins de 21 ans” (forbidden to those under 21), and would end up being banned in several countries owing to its sexual content. In the UK, it was released on Fontana Records, but, after reaching number 2, it was withdrawn for sale. Gainsbourg arranged a deal with Major Minor Records and on re-release it reached number one, the first banned number one single in the UK and the first single in a foreign language to top the charts. It stayed on the UK chart for 31 weeks. Bardot may have regretted not releasing her version, but she did give permission for a release of her Gainsbourg recording in 1986. With a slight re-edit, it was virtually ignored by the public, who were perfectly happy with the existing Jane Birkin version.
On New Year’s Eve 1967, French TV broadcast a special colour programme devoted to B.B. called Le Bardot Show. Filmed over several months between November and December, the 60 minute show was years before its time, and it effectively consisted of a collection of video-clips, which made an incredible impression on the French public. And this when audiences would first hear…and SEE, Bardot’s Harley Davidson. Phew! I can only imagine the thoughts that were going through both male and females minds when they first shared this moment. Yeah, she had the look, the big wild blonde waves, the tiny leather shorts and high boots, and her signature dark eyeliner, but the way she sang this, is just so defiant and…well…so Bardot (can’t think of any other way to describe it). I don’t need anyone…on a Harley Davidson…I no longer recognize anyone….on a Harley Davidson…I press the starter…and here is where I leave the earth…maybe I’ll go to heaven…but at top speed on a train from hell!
These songs were released on the soundtrack LP, Brigitte Bardot Show in ’68. Adding to the sexual appeal, Bardot was pictured on the sleeve of the LP (and the spin-off EP) virtually naked, but carefully masked by a layer of wrapping-paper. Fans declared the design a masterpiece. The flip to this iconic track is Contact, and I have to say that this track I find even more desirable, but I’m a sucker for 60’s psychedelic spaced out minimalist sitar flavored dance floor grooves! And I’ll never forget the first time I laid eyes on the film clip of Contact, with Bardot draped in Paco Rabanne!
Bardot retired in 1973, aged just 39, withdrew to her beloved Madrague, her retreat in St Tropez where she could dedicate herself to animals and a barefoot Mediterranean life. She would only leave her home to protest about animal rights (and make some ill-advised comments about immigration). Bardot’s passion for animals could be traced back to her childhood, a time when she transferred affection she missed from home, to whatever 4 legged creatures she could find. In 1986, she established the Brigitte Bardot Foundation for the Welfare and Protection of Animals, and would constantly meet with the French President and other world leaders to protest any case of cruelty towards animals. Bardot has never resorted to any cosmetic surgery, (as so many of her contemporaries have) and has retained her authenticity.
I know many of us were bitten by the BB phenomenon many years ago, but it’s always great to get these records out again and play them out, especially to the “hip kids”, that for some reason are new to her. Her songs always bring back fond memories of great times, and they can still get the punters dancing…and smiling! I think she was an amazing woman with a whole lot more going on than meets the eye! And still is quite beautiful.
Recommended reading and references…
Track 1 – 7 heures du matin Track 2 – Ce Soir Je M’en Vais
Born 1948 in Carthage, Tunisia, the young Taïeb arrived in France with her parents at age eight. Her father gifted her with a guitar at 12 (like every good dad should do) which she must have really connected with, because soon she would be composing her own songs. It wasn’t long before a talent scout would discover her while singing with friends. It was ’66, and what an exciting time it must have been for the big eyes of 18 year old singer-songwriter, scoring a contract with the record label Impact, and then being quickly whisked away off to London for her first recording sessions.
1967 saw a string of 7″ releases for the then 19 year old Jacqueline, but it’s this debut EP release (in January) that she is most well worshiped for. All four songs on the EP were composed by the young singer herself, which you have to remember for that time, was quite rare, as most female singers were expected to perform songs that had been written for them, or perhaps covers of other popular high selling hits.
Though the lead track, the almighty ye ye classic 7 heures du matin, was only a small hit at the time, it has gone on to become considered a classic of the French girl pop genre. It is the story of a young student waking up too early, at 7am, on a Monday morning, struggling with the thoughts of what the day will throw at her. She fantasizes about her boy crush Paul McCartney, helping her complete her homework, while tormenting on which sweater to wear for the day. Obviously a girl who is after trouble, the rebellious girl even considers playing her Elvis record loudly just to upset the neighbors. I mean really…how cute is that!?
It’s a simple song, but a huge dance floor monster! With it’s Steppin’ Stone garage power chords and it’s rebellious Elvis meets The Who attitude, it’s freakin’ impossible not to adore this one! And obviously very high in demand in the collectors circle. This track really brings back some great memories of the Sounds Of Seduction nights we once were fortunate to encounter here in Sydney in the 90’s, hosted by the great Jay Katz, (a friend who is responsible for introducing me to so much great lost European dance and film music of the sixties). And this song was also the trigger to the beginnings of my Ye ye obsession!
Update! A few years back I managed to get my hands on the elusive Australian issue of this masterpiece, with both 7AM and the flip side, which translates to Tonight I’m Going Home, sung in English! And finally getting a chance to upload. I love both these English renditions, even as a purist to the French originals! This issue has a catalogue date set to 1968.
W & G – WG-S-8124 Australia 1968
Side A – 7 am.
Side B – Tonight I’m Going Home
More Jacqueline Taieb 7″s to come as well a whole lot more Ye Ye!!!
Jacklyn Records 1006 US Year 1967The first time I heard Darrow Fletcher, which was a few years ago now, was one of those life changing experiences. An instant connection and a desire for his records and his sound. A man with an active 7″ soul catalogue, however somehow still quite unknown and mysterious as far as main stream popularity goes. Wasn’t really too sure what to present for my first DF post, but why not go with one of his very best on Jackyln. But first a little history on this great man, and the best place for that lesson is to dig over at Soul Source.
Darrow, born 23 January 1951, moved with his family to Chicago when he was 3, from the Detroit suburb of Inkster. It seems even as a young 6 year old, he was never uncertain about his stage and singing destiny. His love and enthusiasm for song and performance was a gift he must have truly accepted without any hesitance. Whilst he was a freshman in high school in December, 1965, he recorded “The Pain Gets A Little Deeper”, written by himself and producer Ted Daniels, and cut with the help of his stepfather-motivated business man, Johnny Haygood. Is this really the voice and heart of a young 14 year old school kid !? An impressive debut to say the very least! The record was leased to Groovy, a small New York label owned by Sam and George Goldner and Kal Rudman. They got the record on the national R&B charts for seven weeks in early 1966, and was also released on London in the UK.
Soon Darrow was touring the “chitlin” circuit, playing venues like The Apollo, The Uptown and the Regal, where, in July ’66 he shared the bill with B B King, Lee Dorsey and Stevie Wonder. Following three not so successful follow-ups on Groovy, Darrow’s stepfather formed Jacklyn Records in 1966, named after one of his daughters. Darrow cut three singles on Jacklyn, “Sitting There That Night” scored immediately, 2,500 sales for the record in Chicago alone. Darrow co wrote it with his stepfather, and is also providing one of the sweetest guitar solos here, still at the age of 14! The flip “What Have I Got Now” is an insanely beautifully tempo-ed soul track and makes that a 7″ monster must have!
What Good Am I Without You was penned by Don Mancha and produced and arranged by horn player Mike Terry a year later. Again, this is a very big song and arrangement. The pace is high, just as the heart is beating. The strings and backing vocals are stuffed with passion and the chorus is an out pour! To tell you the truth, I’m really not sure if it can ever get better than this! The flip’s Little Girl is a sweet ballad Darrow co-wrote again with his stepfather.
I think it’s fair to say that Darrow had two very distinctive periods to his career. The first part were the records he made in Chicago between 1965 and 1970, and then the handful of singles cut in Los Angeles in the 70s, which had quite a different more modern soul feel, which I’ll dig deeper into in related future posts. But I love them all. There’s an honesty in his voice that I find so compelling and desirable and I hold him up high in praise as one of my all time favourite artists.
A must read is this recent enlightening interview by Boxy from Soul Source…Darrow Fletcher – The Interview – The Full Story
Track 1 Underdog Track 2 Bad Risk
Sylvester Stewart was born in Dallas, Texas, in March of 1944 & began his recording career at the very early age of four as a vocalist on the gospel tune On the Battlefield for My Lord. In the 50’s, his family moved to the San Francisco area where he & his brother Freddie learned to play various instruments & made music under the name the Stewart Four. Stewart also played & sang with doo-wop groups & in high school sang with a group called the Viscanes, appearing on their record Yellow Moon, & at sixteen made a solo record called Long Time Away which gained him some modest fame.
Stone studied music composition, theory, & trumpet at Vallejo Junior College in the early 60’s & began playing in several groups on the Bay Area scene. Around ’64 he had become a disc jockey at the R&B station KSOL, & his radio appearances led to a job producing records for Autumn Records. There he worked with a number of San Franciscan garage & psychedelic bands & he himself recorded three 7’s titled Buttermilk PT1-2 & Temptation Walk PT1-2, both in 65, & also the unusual surf track I Just Learned To Swim in ’64 flipped with Scat Swim, which is a personal fav’ that I’ll have to share sometime in the future…it’s a little insane!
As a DJ he gained notoriety as one of the more eccentric voices on radio, blending sound effects with public service announcements & mixing soul singles with rock & roll records by Bob Dylan & the Beatles, & was generally considered the top R & B commentator in the area.
In ’66 Stewart’s current band The Stoners split, & it was saxophonist Jerry Martini who approached Stewart, who was content at the time with his DJ gig, into fronting a new band. Along with Martini, Stewart enlisted brother Freddie as guitarist & his sister Rosie to play piano, with the addition of bassist Larry Graham & drummer Greg Errico & ex-Stoners trumpet player Cynthia Robinson. Stewart changed his name to Sly Stone, & the Family Stone was born.
The band quickly attracted the attention of Columbia Records A&R executive David Kapralik & soon signed with Columbia, releasing its debut LP, A Whole New Thing, in 1967 on the Columbia subsidiary Epic Records. The album didn’t fare particularly well, but my only explanation for that could possibly be only because of the lack of radio hits, & definitely not the lack of fat funk! The opening track on that Lp, Underdog is a killer & the debut album’s only 7″ release which, I suspect, was a promo only (please correct me if I’m wrong!). I myself think this is the most desirable & important Sly 45 to have! It’s an epic tune, with big vocals, snappy rap versing & the sharpest percussion. I’m just not sure the world was ready for this!
But it didn’t take long for the Family to hit it big, which they certainly did with the almighty (& much more radio friendly) US. and UK. Top 10 smash Dance To The Music, from their follow up LP of the same name. Even Sly admits he wasn’t ready for what was about to hit them!
In ’69, Sly released the album ‘Stand’ which included the next big follow up hit Everyday People. A big album, with some big songs, also including I Want To Take You Higher & my personal fav’ from the album, the title track Stand!
This album went on to sell two million copies.
Underdog was also released on a french picture sleeve as a B side to Dance To The Music, but it’s this bad boy you want with the baddest Bad Risk on the flip!
It must be noted that Sly & the Family Stone did release a mysterious 7″ with the titles I Ain’t Got Nobody & Otis Redding’s I Can’t Turn You Loose on the flip, on a small San Francisco-based Loadstone label. This is said to be the first “Family” 7″, however the dates I’m getting on this release are all over the place ranging from 67 to 72. The track also appeared on their ’68 LP.
The Family Stone are credited as one of the first racially integrated bands in music history, belting their message of peace, love & social consciousness through a string of hit anthems. Their music fused R&B, soul, pop, jazz, & an emerging genre soon to be dubbed funk! Sly developed a formula for the band’s recordings, which would still promote his visions of peace, brotherly love, and anti-racism while appealing to a wider audience. And his new fused sound not only worked in selling records, but influenced the entire music industry. When “Dance to the Music” became a Top 10 pop hit, soul producers and labels immediately began appropriating the new “Psychedelic soul” sound. By the end of 1968, The Temptations had gone psychedelic, and The Impressions and Four Tops would join them within the space of two years.
Sadly Sly eventually fell down the spiral with his constant drug addictions over some many years. While he still may have that spark in his eyes, & that beautiful energy in his aura, he clearly has paid a price for those early years of fame. He was inducted into the Rock & Roll Hall Of Fame in 1993, & is the recipient of the 2002 R&B Foundation Pioneer Award.
Referencing and recommendations…
Documentary – Sly & the Family Stone “Coming back for more” (I would love to see this!)
Documentary -Sly Stone: Portrait of a Legend