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French Music - Released May 13, 2013 | Universal Music Division Romance Musique

Hi-Res Booklet Distinctions 4 étoiles Rock and Folk - Hi-Res Audio
It's been six years since Divinidylle, and Vanessa Paradis is making up for lost time with the 22-track Love Songs. The title bears some poignancy -- this is her first offering since splitting from Johnny Depp. (He and their daughter Lily Rose get co-writing credits on the dubwise "New Year.") Benjamin Biolay produced the set, wrote six tunes for it, co-wrote another with Paradis, and performed a duet with her. Biolay may not be the next Serge Gainsbourg, but he is the master's most logical successor in terms of musical sophistication, writing chops, and a willingness to experiment sonically. Among the other songwriters who contributed material are Mathieu Boogaerts, Mickaël Furnon, BB Brunes' Adrien Gallo, Marcel Kanche, and Paradis. Opener "L'au-Delà" is a modern French chanson offered in lilting waltz time; guitars and snare drum move directly at the singer who slips them and lets the lyric guide her delivery. The title track single by Biolay caused a discussion between singer and producer -- being one of his best songs, she wanted him to keep it for himself, but he insisted she record it. It's classic French disco, complete with big bassline, spacy strings, Star Wars battle synths, organic and synthetic percussion, wah-wah guitars, and an infectious, hooky, vocal chorus. Paradis' voice, usually wispy and slight, digs into the lyric with force and delight. "Les Espaces et les Sentiments" is funky pop, where the singer struts atop the bassline, synth pulse, and percussion, and places them in service of her sultry delivery. "Tu pars Comme on Revient," by Biolay, brings the classic age of French chanson to the indie pop era with a flourish, yet it took this singer to pull it off. "The Dark It Comes" is a duet with ex-Libertines' Carl Barat; it's a twisted murder ballad whose narrative stands in sharp contrast to its lush musical arrangement. The tango-gypsy fusion in "Le Rempart" is clever and convincing, as is "Sombreros," where reggae meets cumbia. "Mi Amor" is Phil Spector rock & roll with 21st century production featuring a dirty bassline vamp and blissed-out guitars in the bridge. It highlights Paradis' sassy, playful phrasing -- she can sing this stuff all day and always sound convincing. She lends a wistful poignancy to her reading of Jacques Brel's classic "La Chanson des Vieux Cons," which Biolay illustrates dramatically with a restrained operatic backing choir, organ, and piano. His duet with her on "Les Roses Roses" owes as much to early rock & roll as it does to the breezy sophisti-pop Biolay is famous for. As a result of this collaboration, Love Songs is Paradis' most heterogeneous album musically -- though that is admittedly subtle at first. While Biolay's importance cannot be overstated, this is the very first Paradis record where she sounds like a full partner with her producer rather than the singer he illuminates. While she doesn't leave pop behind here, she pushes its envelope -- and her own -- attaining a diversity that we couldn't have imagined from her previously. © Thom Jurek /TiVo
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French Music - Released January 1, 2013 | Universal Music Division Romance Musique

Hi-Res Booklet Distinctions 4 étoiles Rock and Folk - Hi-Res Audio
It's been six years since Divinidylle, and Vanessa Paradis is making up for lost time with the 22-track Love Songs. The title bears some poignancy -- this is her first offering since splitting from Johnny Depp. (He and their daughter Lily Rose get co-writing credits on the dubwise "New Year.") Benjamin Biolay produced the set, wrote six tunes for it, co-wrote another with Paradis, and performed a duet with her. Biolay may not be the next Serge Gainsbourg, but he is the master's most logical successor in terms of musical sophistication, writing chops, and a willingness to experiment sonically. Among the other songwriters who contributed material are Mathieu Boogaerts, Mickaël Furnon, BB Brunes' Adrien Gallo, Marcel Kanche, and Paradis. Opener "L'au-Delà" is a modern French chanson offered in lilting waltz time; guitars and snare drum move directly at the singer who slips them and lets the lyric guide her delivery. The title track single by Biolay caused a discussion between singer and producer -- being one of his best songs, she wanted him to keep it for himself, but he insisted she record it. It's classic French disco, complete with big bassline, spacy strings, Star Wars battle synths, organic and synthetic percussion, wah-wah guitars, and an infectious, hooky, vocal chorus. Paradis' voice, usually wispy and slight, digs into the lyric with force and delight. "Les Espaces et les Sentiments" is funky pop, where the singer struts atop the bassline, synth pulse, and percussion, and places them in service of her sultry delivery. "Tu pars Comme on Revient," by Biolay, brings the classic age of French chanson to the indie pop era with a flourish, yet it took this singer to pull it off. "The Dark It Comes" is a duet with ex-Libertines' Carl Barat; it's a twisted murder ballad whose narrative stands in sharp contrast to its lush musical arrangement. The tango-gypsy fusion in "Le Rempart" is clever and convincing, as is "Sombreros," where reggae meets cumbia. "Mi Amor" is Phil Spector rock & roll with 21st century production featuring a dirty bassline vamp and blissed-out guitars in the bridge. It highlights Paradis' sassy, playful phrasing -- she can sing this stuff all day and always sound convincing. She lends a wistful poignancy to her reading of Jacques Brel's classic "La Chanson des Vieux Cons," which Biolay illustrates dramatically with a restrained operatic backing choir, organ, and piano. His duet with her on "Les Roses Roses" owes as much to early rock & roll as it does to the breezy sophisti-pop Biolay is famous for. As a result of this collaboration, Love Songs is Paradis' most heterogeneous album musically -- though that is admittedly subtle at first. While Biolay's importance cannot be overstated, this is the very first Paradis record where she sounds like a full partner with her producer rather than the singer he illuminates. While she doesn't leave pop behind here, she pushes its envelope -- and her own -- attaining a diversity that we couldn't have imagined from her previously. © Thom Jurek /TiVo
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Pop - Released January 1, 2007 | Universal Music Division Romance Musique

Booklet Distinctions Victoire de la musique
Still best -- heck, pretty much only -- known in the United States as Mrs. Johnny Depp, French singer and actress Vanessa Paradis has been a star in her native country since she was a teenager who had several pop hits back in the late '80s. As an adult, Paradis has taken her time in between projects; Divinidylle is her first album in over five years. (Those who require English-language touchstones for their foreign rockers: think of a more accessible and pop-oriented version of Kate Bush.) A straightforward but eclectic pop album ranging from the steel guitar-inflected atmospherics of "Les Revenants" and the haunting piano-and-strings ballad "Junior Suite" to the sunshiny '60s pop feel of "Divine Idylle," the organ-driven rocker "La Bataille," and the modern R&B sway of "L'Incendie," Divinidylle has no pretensions beyond pure entertainment. At its best, as on the clever, lavishly arranged single "Chet Baker" and the flirty duet with Mathieu Chédid "Les Piles," it's among Paradis' strongest works, and it's a far more consistently entertaining listen than many of her early albums, which tended toward the spotty. In fact, Divinidylle is likely Paradis' best album yet. © Stewart Mason /TiVo
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French Music - Released January 1, 2000 | Universal Music Division Romance Musique

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French Music - Released November 29, 2019 | Universal Music Division Romance Musique

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Pop - Released January 1, 1988 | Universal Music Division Romance Musique

Vanessa Paradis' pleasantly understated 1987 debut propelled the then 16 year old into modeling, acting, and further singing when the single "Joe Le Taxi" became an unlikely international hit. She would go on to become a French national treasure, date Johnny Depp, and be Lenny Kravitz' 1970s AM radio muse on a memorable English-language effort. But disregarding all of that, M & J is a remarkably solid album, driven steadily along by lite-pop arrangements and Paradis' disarming vocals. She's not an accomplished singer; at the same time, her wispy, girlish voice nestles perfectly into the album's clutch of head-nodding numbers. "Maxou"'s simply sunny piano flirts with a wide-eyed, almost naïve vocal; it's easy to imagine a black-and-white, silent movie sequence where the beguiling Vanessa is pursued through the streets of Paris by a luckless suitor. Paradis sashays her way across "Mosquito"'s slight new wave groove and sells the Latin cabaret feel of "Marilyn & John" with aplomb. But it's the wistful "Joe Let Taxi" where she really shines, since the track's sax-laced slow burn is the perfect foil for her fetching delivery. Remember in Tom & Jerry when Tom floats on the intoxicating drift of his true love's perfume? That's what this entire album makes you feel like. © Johnny Loftus /TiVo
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French Music - Released November 16, 2018 | Universal Music Division Romance Musique

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French Music - Released November 24, 2014 | Universal Music Division Romance Musique

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Pop - Released January 1, 1990 | Universal Music Division Romance Musique

Having scored a pan-European smash three years earlier with her debut single, "Joe le Taxi," including nearly three months at the top of the charts in her native France, Vanessa Paradis reunited with producer Franck Langolff for this follow-up album. The legendary Serge Gainsbourg provided lyrics, but the results are hardly up to the treatments given his material by Jane Birkin. Paradis' vocals are wispy and pleasant enough, but the music is strictly pedestrian, slick dance-pop on tracks such as "Au Charme Non Plus" and "Amour Jamais." There's even a bit of grinding guitar bolstering "L'Amour en Soi," which seems blandly aimed at replicating Janet Jackson's "Black Cat." Her reading of Lou Reed's "Walk on the Wild Side" has a quirky charm to it; although hardly making anyone forget the original, it wisely eschews the processed feel of the rest of the album and therefore stands out. © Tom Demalon /TiVo
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Pop - Released January 1, 1992 | Universal Music Division Romance Musique

French pop star (and significant other of Johnny Depp) recorded her English-language debut record in 1991; the self-titled disc was a bit of a flop commercially, but, surprisingly, succeeds artistically. Producer Lenny Kravitz gives Vanessa Paradis some of his best songs and she really can carry a tune with her breathy little-girl vocals. The highlights of the record are many, but the songs that will have you smiling like a fool at the sheer poptasticness of it all are the gliding funk with orchestra of "Natural High;" the strutting girl group of "Be My Baby;" the sweet-as-sugar sunshine pop of "Sunday Mondays;" the psych-soul of "Your Love Has Got a Handle on My Mind" (which features Paradis' most assured vocal and a nice background assist from Kravitz); and the sweet soul of "Just as Long as You Are There." Even her cover of the Velvet Underground's "I'm Waiting for the Man" works wonders. It really shouldn't, but the propulsive beat and Paradis' sexy vocals somehow do the trick. The only song that falls flat is the autumnal folk of "Silver and Gold," as the ultra-serious lyrics and tone are painfully out of step with the glitter and groove of the rest of the record. Kravitz should be praised for his wonderful production. He rarely makes a wrong move and provides wonderful settings for Paradis to shine. It is too bad they didn't make more records together. Johnny Depp's gain is pop music's loss. Odds are there will never be a deluxe reissue (sadly), so you will have to seek this out in used stores and bargain bins. © Tim Sendra /TiVo
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French Music - Released September 22, 2014 | Universal Music Division Romance Musique

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Pop - Released January 1, 2008 | Universal Music Division Romance Musique

Imaginative and atmospheric French pop vocalist Vanessa Paradis returned to the recording studio after a seven-year layoff to record the album Divinidylle in 2007, and she supported its release with a well-received concert tour. Divinidylle Tour is a live recording featuring Paradis and her band performing all 11 songs from Divinidylle, as well as a selection of favorite songs from throughout her career, including "Joe le Taxi," "Dis Lui Toi Que Je T'aime," "Be My Baby," "Pourtant," and "Que Fait la Vie." © Mark Deming /TiVo
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French Music - Released January 1, 2013 | Universal Music Division Romance Musique

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Pop - Released January 1, 1994 | Universal Music Division Romance Musique

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French Music - Released November 16, 2018 | Universal Music Division Romance Musique

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French Music - Released September 27, 2019 | Universal Music Division Romance Musique

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French Music - Released November 24, 2014 | Universal Music Division Romance Musique

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Pop - Released June 23, 2008 | Universal Music Division Romance Musique

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French Music - Released October 9, 2015 | Universal Music Division Romance Musique

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French Music - Released September 14, 2018 | Wrasse Records

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