Mattinata casalinga, a mettere a posto un po’ in casa, a studiare e leggere e a pranzare con le merguetz. Tra un’ora, infatti, vado a un seminario all’EHSS e quindi la BnF sarebbe stata un viaggio troppo lungo. Ma parliamo di cose serie, sto per postare il primo sondaggio di questo blog. Come saprete, da ormai quasi due mesi ho l’iPhone. Come saprete, le suonerie dell’iPhone fanno abbastanza schifo. Come saprete, esistono metodi più o meno ortodossi per mettere nuove suonerie all’iPhone e come immaginerete, ho deciso di fare scegliere a voi.

A parte una suoneria personalizzata, quale delle seguenti è più adatta al mio iPhone?

e per gli SMS?

Ovviamente, se avete altre idee brillanti potete lasciarmi un commento… Bon, vado a sentir parlare di attori del Duecento, voi intanto votate…

Above: “Le Soleil et La Lune” by Charles Trenet

In 2010, NPR is going to do a recurring series about the world’s best vocalists. Of couse, that’s a highly subjective and ultimately crazy goal, but in the time being, they’ve got an interactive tool to help them pare the list down with biography, photos, and audio samples of 150 candidate vocalists. It’s been fun for me to play with and find new people to listen to, such as Charles Trenet (French pop) above and Chavela Vargas below (Mexican ranchera). Go play with it!

Below: “La Llorona” by Chavela Vargas

Il vento frizzante e fresco di questa giornata inebria goduriosamente i sensi e penetra nelle vene.

Induce il mio pensiero in ricordi di paesi nordici,  odore di cibi speziati,  caffè Starbucks al caramello, mattoni ambrati, gabbiani urlanti.

Y a d’la joie, de la joie…Partout y a d’la joie!:)

Dans ma rue, y a deux boutiques
Dans l’une on vend de l’eau dans l’autre on vend du lait
La première n’est pas sympathique
Mais la seconde en revanche où l’on vend du lait l’est
Et c’est pour ça que tous les passants
La montrent du doigt en disant

Ah qu’il est beau le débit de lait
Ah qu’il est laid le débit de l’eau
Débit de lait si beau débit de l’eau si laid
S’il est un débit beau c’est bien le beau débit de lait
Au débit d’eau y a le beau Boby
Au débit de lait y a la belle Babée
Ils sont vraiment gentils chacun dans leur débit
Mais le Boby et la Babée sont ennemis
Car les badauds sont emballés
Par les bidons de lait de Babée
Mais l’on maudit le lent débit
Le lent débit des longs bidons du débit d’eau de Boby
Aussi Babée ses bidons vidés
Elle les envoie sur le dos de Boby
Et Boby lui répond
En vidant les bidons
Les bidons d’eau de son débit et allez donc
Les bidons d’eau de son débit et allez donc.

Dans ma rue y a un mariage
Celui du beau Boby et de la belle Babée
Les voilà tous deux en ménage
Le débit d’eau épouse le grand beau débit de lait
Ils ont repeint leur boutique en blanc
Et chacun dit en y allant

Ah qu’il est beau le débit de lait
Ah quel palais le débit de l’eau
Débit de lait si beau, débit de lait palais
S’il est un débit beau c’est bien le beau débit de lait
Boby a mis du lait dans son eau
Et la Babée de l’eau dans son lait
Ils ont enfin compris que leurs débits unis
Font le plus grand le plus joli des beaux débits
Et les badauds sont emballés
Par les bidons de lait de Babée
Oui mais Boby garde pour lui
Les deux plus beaux bidons de lait de la Babée jolie
Et maintenant si vous y alliez
Vous entendriez de joyeux babils
De deux beaux bébés blonds
Qui font tomber d’un bond
Tous les bidons d’eau et de lait de la maison
Tous les bidons d’eau et de lait de la maison.
Ils se battent à coups de beaux bidons
Chez Boby et chez Babée et allez donc

© Tous droits réservés – 1942

christophe cousin

ccousin69@gmail.com

http://www.dailymotion.com/christophecousin
http://chosesquifontbattrelecoeur.wordpress.com/
http://christophecousin.wordpress.com/

Tracklist
01 – Opening
02 – Opening (Revised)
03 – Paris Taxi Ride
04 – La Grande Arche
05 – Paris Walk
06 – Paris Walk (Revised)
07 – Tie Trouble
08 – Train Bleu Restaurant
09 – Train Bleu Restaurant (Revised)
10 – The Train Departs
11 – Bean Loses Bag
12 – Crossing Legs
13 – Emiles Train
14 – Writing Numbers
15 – Bean Loses Phone
16 – Mish Mesh Mish
17 – Time To Run
18 – Chicken Chase
19 – Bean Spots Bike
20 – Open Space
21 – Bike Theft
22 – Moving The Box
23 – Sunset Up The Hill
24 – Opede
25 – In The Tent 1
26 – In The Tent 2
27 – It’s War!
28 – Battery Low
29 – Bean Sees The Car 1
30 – Bean Sees The Car 2
34 – Driving
35 – We’ve Made It
36 – Low Gas
37 – Sabine Finds Out
38 – Sabine Finds Out (Revised)
42 – Bean Has A Plan
43 – Playback Time 1
44 – Getting In
45 – Playback Time 2
46 – La Mer
Charles Trenet

อัลบั้มแบบไม่เป็นทางการหรือพูดง่ายๆคือไม่มีจำหน่ายในท้องตลาดจริงของภาพยนตร์ภาคต่อสุดฮา Mr. Bean’s Holiday ที่คราวนี้ Mr. Bean ของเราโชคดีได้รางวัลไปเที่ยวถึงเมืองคานส์ที่ฝรั่งเศสเชียว
ดดานดนตรีประกอบยังคงได้คอมโพเซอร์ Howard Goodall จากภาคแรก (Bean The Movie) มารับหน้าที่แต่งดนตรีประกอบ ซึ่งผู้ที่เอาอัลบั้มนี้มาปล่อยก็ได้รวบรวม Score ทั้งแบบปกติและแก้ไขแล้ว (Revise) มาให้เราได้ลองฟังเทียบกันดู
ทิศทางของเพลงส่วนใหญ่ค่อนข้างไปในทางเดียวกัน แต่ก็ไม่แข็งทื่อ เนื่องจากดนตรีที่ฟังสบายๆซึ่ง Goodall ได้ใช้ออเคสตร้า บวกกับพวกเครื่องดนตรีท้องถิ่นอีกเล็กๆน้อยๆอย่างฮาร์โมนิกา ผลลัพธ์คือดนตรีคลาสสิคแบบฝรั่งเศสที่แสนจะกลมกล่อม ทั้งนี้ Goodall ยังได้ใช้คอรัสและดนตรีสังเคราะห์ในการเพิ่มเสน่ห์ให้เพลงต่างๆเหล่านั้นด้วย
การเรียงเพลงในแต่ละแทร็คก็จะเรียงตามเหตุการณ์ในหนังดังที่เห็นรายชื่อเพลงเยอะอย่างนี้ แต่เพลงส่วนใหญ่ค่อนข้างสั้น อย่างไรก็ดีอัลบั้มนี้ก็มีอะไรเจ๋งเๆน่าฟังกันดังนี้
Opening เป็นการแนะนำธีมหลักๆของอัลบั้มในบรรยากาศการเริ่มต้นเดินทางอย่างแจ่มใส สำหรับเพลงนี้ผมขอแนะนำแบบ Revise ที่รีไพรซ์ธีมหลักช่วงท้ายๆเติมเต็มความสมบูรณ์ของเพลงได้อย่างดี อีกหนึ่งเพลงที่ประยุกต์จากธีมในทำนองเดียวกัน คือ Bean – Sabine กับดนตรีน่ารักๆฟังได้เพลินๆกับเสียงฮาร์โมนิก้าอันโดดเด่น
Paris Walk และ Driving เป็นเพลงที่ใช้ประโยชน์จากคอรัสในการสร้างความน่าเกรงขามและความระทึกได้อย่างดี Train Bleu Restaurant เป็นดนตรีฟังสบายในทำนองสุดคลาสสิคสำหรับใช้เปิดร้านอาหารอย่างแท้จริง
คิวต่อไปคือเพลงดนตรีสังเคราะห์และเปียโนซึ่งมีบทบาทในช่วงปลายๆอัลบั้ม ได้แก่เพลงที่ขึ้นชื่อด้วย Playback Time ทั้งหลาย (ถ้าใครดูเรื่องนี้คงจำได้ว่าเป็นดนตรีประกอบหนังชวนหลับของ Carson Clay) โดยที่โดดเด่นที่สุดในส่วนนี้ คือ Playback Time 2 ที่ตัวเพลงมีลักษณะเล่นบ้างหยุดบ้าง แต่ครบเครื่องทั้งดนตรีสังเคราะห์ เปียโน และออเคสตร้าในทำนองดนตรีเต็มไปด้วยความโกลาหล เพลงนี้จบลงด้วยธีมหลักและคอรัสสุดยิ่งใหญ่ บ่งบอกว่าในที่สุด Mr. Bean ก็มาถึงจุดหมายเสียที
อัลบั้มนี้ปิดด้วยเพลง La Mer (แปลว่า ทะเล ซึ่งก็คือจุดหมายปลายทางของ Mr. Bean นั่นเอง) ขับร้องโดยศิลปินชาวฝรั่งเศส Charles Trenet ซึ่งเพลงนี้เป็นหนึ่งในผลงานสร้างชื่อของเขาและยังคงเป็นที่รู้จักเสมอมา
อัลบั้มนี้เรียกได้ว่าทั้งฟังเพลินและรื่นรมย์เหมือนคุณนอนอาบแดดที่ชายหาดยังไงยังงั้น
ด้วยดนตรีมีความหลากหลายกว่าภาคแรก อัลบั้มนี้จึงเหมาะที่จะเอาไปเปิดฟังเพื่อผ่อนคลายหรือสร้างบรรยากาศดีๆสไตล์ฝรั่งเศสในวันหยุดพักผ่อนครับ

Howard Goodall – Mr. Bean’s Holiday

http://www.ulbuzz.com/GtOKvjPagA
(MP3 / Bitrate 320 kbps)

*Bonus Track: Matt Willis – Crash*
เพลง Rock สุดฮิตในอดีตของ The Primitives ที่นำมาร้องใหม่เป็นในทำนองเพลง Pop Punk สุดมันส์โดยนักร้องหนุ่มชาวอังกฤษ Matt Willis
http://up2u.in.th/index.php/files/get/zAJwUYIkQ8/matt-willis-crash.rar

(MP3 / Bitrate 320 kbps)

charles aznavour // emmenez-moi

gilbert bécaud // je reviens te chercher

juliette gréco // si tu t’imagines

charles trenet // que reste-t’il de nos amours

serge gainsbourg // la javanaise

_

In honor of France’s national day, I am sharing with you songs from French artists. It’s a collection full of melancholy and drama. Add a glass of wine and a cigarette for the full effect. Vive la France!

1. Charles Trénet: Douce France
2. Carla Bruni: Quelqu’un m’a dit
3. Calogero: La Bienvenue
4. Élodie Frégé: Je Te Dis Non
5. Benjamin Biolay: Je Ne T’ai Pas Aimé

Inspired by my Twitter-friend @OriginalLinDA

Charles Trenet

• Le soleil et la lune

youtube upload by nperry5000

© RUBRICA “SGUARDI E ASCOLTI DAL MONDO” a cura di M. Lizzadro

Ascolterei per ore ed ore “Qu’ rest t’il de nous amor” di Charles Trenet senza mai stancarmi,  figurarsi poi in una versione jazz come quella contenuta in “Mare Nostrum” di Richard Galliano, Paolo Fresu e Jan Lundgren del 2008. Il Mediterraneo come luogo di incontro di popoli e culture diverse ma anche come punto di partenza per esplorare territori sconosciuti, questa pare essere la metafora che sottende “Mare Nostrum”, album che vede l’esordio di un inedito trio jazz: il trombettista sardo Paolo Fresu, il fisarmonicista francese Richard Galliano e il pianista svedese Jan Lundgren. Tre mondi diversi, tre strumenti diversi si sono magicamente incontrati in un album dalle sonorità tenui, delicate e malinconiche. Dato che il jazz è anche apertura e confronto con altre culture musicali, quest’album è fatto di melodie che vengono da tradizioni e stili differenti. La bellissima canzone francese di un brano immortale di Charles Trenet evocatrice di visioni filmiche di Truffauttiana memoria, il folklore svedese, la musica di Maurice Ravel, alcuni brani della tradizione brasiliana di Tom Jobim e Vinicius De Moraes, così come le composizioni originali, tutto unito e fuso in un disco gradevole e molto bello. La varietà e la ricchezza di “Mare Nostrum” consiste in un’invenzione di grande fascino ed armonia: una miscela di jazz con una sfumatura di contemporaneità che forse ci offre l’immagine di un attualità in cui il jazz si fonde non confondendosi, ma arricchendosi con altri stili, altre tradizioni musicali. “Mare Nostrum”, come già detto, è l’incontro tra la tromba di Paolo Fresu, da decenni uno dei più grandi artisti jazz internazionali che coltiva incontri e collaborazioni in tutto il continente pur mantenendo un forte legame con la sua Sardegna, il fisarmonicista Richard Galliano, francese, la cui musica unisce jazz, tango e valzer e il pianista svedese Jan Lundgren che intesse influenze contemporanee e classiche, folclore scandinavo e jazz. Musica che privilegia i chiaroscuri timbrici. La mancanza del basso e della batteria rende la musica di “Mare Nostrum” rarefatta e sospesa, per cui sembra quasi che le composizioni siano crepuscolari e dotate di quella tenue e delicata malinconia che a volte è una delle caratteristiche dei più grandi capolavori della musica jazz, ma dell’arte in generale.

Richard Galliano è nato a Cannes il 12 dicembre del 1950. Fin da bambino ha studiato piano e fisarmonica col padre Luciano Galliano fisarmonicista italiano. Dopo un lungo e intenso periodo di studio con lezioni di trombone, armonia e contrappunto all’Accademia di Musica di Nizza, a quattordici anni, nella ricerca di una espansione delle sue idee sulla fisarmonica, ha iniziato ad ascoltare la musica jazz ed è rimasto impressionato dal trombettista Clifford Brown, dal quale ha preso numerosi spunti. “Ho iniziato ad inoltrarmi in questo campo ed uno dei miei insegnanti, Claude Noel, un ribelle della fisarmonica, ho speso gli anni della mia adolescenza cercando i dischi dei più grandi fisarmonicisti moderni in un momento in cui tutto ciò che potevi trovare nei negozi erano i fisarmonicisti tradizionali. Volevo suonare in una maniera diversa. E sapevo che questa maniera esisteva negli Stati Uniti ed in Brasile”, come confiderà lo stesso Galliano molti anni dopo. Dopo anni di studio e di apprendistato, nel 1973 è andato a Parigi, dove ha incontrato il cantante Claude Nougaro. Per tre anni ha ricoperto il ruolo di direttore d’orchestra, arrangiatore e compositore per quell’orchestra, come affermerà molti anni dopo lo stesso Galliano: “Un ‘orchestra come la Nougaro ha lasciato in me un segno. Con lui ho imparato specialmente l’importanza della melodia. Ora, quando compongo immagino di scrivere una canzone, anche se le mie musiche sono sostanzialmente strumentali”. Dopo Nougaro c’è stato l’importante incontro con il grande Astor Piazzolla, di cui sempre lo stesso Galliano ha detto: “Astor Piazzola mi ha guidato e mi ha aiutato a capire la necessità di ritrovare la mia identità. Fino alla sua morte siamo stati inseparabili. Mi ha aperto gli occhi e mi ha donato l’assoluta padronanza di questo strumento musicale che ha attraversato tutti i cambi delle mode, le passioni, e sofferto tutti i tipi di emarginazione”. Dunque Richard Galliano, erede diretto di Astor Piazzolla, interpreta, compone ed orchestra musica che appare come una mescolanza di tango, valzer, musica alla Bill Evans, improvvisazioni alla Keith Jarrett e reminescenze di Charlie Parker e John Coltrane, il tutto suonato con un piacevole gusto. Uno dei maggiori meriti di Richard Galliano è la sua originalità; il sintetizzare tutte queste esperienze in una musica europea costruita da improvvisazioni jazz e da una gran quantità di tradizione mediterranea. Un’altra peculiarità è il suo modo di adoperare la fisarmonica ed il bandonéon, strumenti musicali poco maneggevoli che hanno sempre avuto vita dura nel jazz e nella musica colta. Per anni, la fisarmonica è stata relegata al rango più basso della musica popolare , nelle mani di Galliano la popolare fisarmonica ha acquisito la policromia di un’orchestra e poi il tono intimistico della musica da camera.

Paolo Fresu è nato il 10 febbraio 1961 a Berchidda, in Sardegna. Ha iniziato lo studio della tromba all’età di undici anni nella Banda Musicale “Bernardo de Muro” di Berchidda, per appunto suo paese natale. Dopo varie esperienze di musica leggera ha scoperto la musica jazz nel 1980 ed ha iniziato l’attività professionale nel 1982 frequentando dapprima i “Seminari Senesi” e registrando quindi per la Rai sotto la direzione di Bruno Tommaso. Si è diplomato prima come Perito Elettrotecnico a Sassari, poi nel 1984 in Tromba presso il Conservatorio di Cagliari e ha frequentato successivamente la facoltà universitaria “Dams “ sezione musica presso l’Università di Bologna. La sua attività discografica vanta oltre trecento dischi e quella concertistica oltre duemila concerti. Vive tra Bologna, Parigi e la Sardegna.La banda del paese e i maggiori premi internazionali, la campagna sarda e i dischi, la scoperta del jazz e le mille collaborazioni, l’amore per le piccole cose e Parigi. Un personaggio singolare Paolo Fresu che è riuscito a trasportare il più profondo significato della sua magica terra nella più preziosa e libera delle arti, la musica. Non serve a nulla enumerare tutte le sue incisioni, tutti i premi che ha vinto e le esperienze varie che lo hanno imposto a livello internazionale e che fanno amare la sua musica: dentro al suono della sua tromba c’è una linfa magica in grado di rivoluzionare il jazz europeo, la profondità di un pensiero non solo musicale, la generosità che lo vuole nel posto giusto al momento giusto ma, soprattutto, l’enorme ed inesauribile passione che lo sorregge da sempre. Turbinosa, onnivora e creativa questi i primi aggettivi che mi vengono in mente per tentare di descrivere la musica di Paolo Fresu. Fra le numerose esperienze musicali di Paolo Fresu vanno annoverate quella col suo storico quintetto, quelle in duo con Uri Caine, quelle col quartetto “Devil” e la collaborazione con Carla Bley e Steve Swallow. Degni di nota sono anche i progetti con alcuni grandi nomi del mondo letterario e teatrale italiano: Ascanio Celestini, Lella Costa, Stefano Benni, Milena Vukotic poi anche collaborazioni per colonne sonore di importanti film. Anche se sarebbe un errore dimenticare le strizzatine d’occhio verso la musica classica con quartetti d’archi

Jan Lundgren è nato a Kristianstad in Svezia. Ha cominciato a prendere lezioni di pianoforte a cinque anni e dopo quasi un decennio di formazione pianistica classica ha scoperto il jazz, sua grande passione fin dal primo momento. Dal 1986 al 1991 ha studiato al Royal College of Music di Malmoe e in quegli anni ha iniziato la sua carriera da musicista professionista. Il suo talento è stato scoperto dal leggendario sassofonista Arne Domnerus. Nel 1994 è uscito il suo album d’esordio “Conclusion“. Negli anni a venire l’orientamento musicale di Lundgren non ha lasciato spazio a dubbi: la sua abilità trova massima rispondenza nel linguaggio del jazz. Nel 1997, “Swedish Standards“ è stato premiato come miglior album jazz dell’anno. Negli Stati Uniti ha registrato numerosi altri album.

Mariano Lizzadro

(foto in alto, Jan Lundgren)

It was both impressive and heartwarming to see how this band has grown. Les Chauds Lapins means “hot rabbits,” literally – in the vernacular, the connotation is a guy who’s hot to trot. Their shtick is reviving old French chansons from the thirties and forties, predominantly from the Charles Trenet catalog. A Gallic icon, Trenet was flamboyant, frequently annoying but also very witty. His repertoire ranged from the odious Douce France (sort of the French equivalent of God Bless America) to dozens of vastly more entertaining and clever songs with a jazzy, theatrical feel, sometimes going completely over the edge into camp. Les Chauds Lapins play them with a knowing, tongue-in-cheek appreciation: former Ordinaires frontman Kurt Hoffman on banjo ukelele or clarinet; ex-Roulette Sister Meg Reichardt on guitar and banjo uke, sharing vocals with Hoffman; Andy Cotton on upright bass, Garo Yellin on cello and a ringer on violin adding a gypsy flair to several selections. The result was as lush and romantic as it was funny: Les Chauds Lapins prefer songs with multiple layers of meaning and they brought all of them out.

What was most impressive is how much their repertoire has expanded since their first album (which made the top 20 on our Best Albums of 2007 list). This time they opened with the coyly swinging Il M’a Vue Nue (He Saw Me Naked), Reichardt managing to hold herself back from completely hamming it up. The high point of their first set was Je Crache Dans L’Eau (I Spit Into the Water), a character study chronicling one unique and peculiar response to rejection, taking it out on fish in the river and marveling at all the ripples a mouthful of saliva can create. The band clearly had a great time with an even more bizarre chronicle, le Fils de la Femme Poisson (The Fishwife’s Son) when it came to the bridge, which is a dead ringer for the Pachelbel Canon. The song was written forty years before Oprah rediscovered it and put the Canon back in the canon (ouch – sorry) – was this a case of reinventing the wheel or a very clever case of theft? Appropriate something previously unknown and you have a perfect crime.   

As a guitarist, Reichardt just gets more interesting, more incisive. Having honed her blues chops in the Roulette Sisters, she’s worked up her jazz side in this project and where she used to comp chords on banjo uke on most of the songs, she’s playing guitar with the same clever incisiveness and love for the low registers that’s so apparent when she plays blues. It was also nice to see Hoffman cut loose with a fiery clarinet solo toward the end of the set – it would be good to see those chops in action more often. And it would have been fun to stick around for a whole second set , but there were drunk people to watch over, the price of some pretty hard pregaming.

It may seem a mystery, but sometimes you just have to go where life takes you.

Certains sont inconsolables de l’absence de sens de la vie, ne comprenant pas que c’est à nous, nous, d’inventer des jubilations… comme le chante le poète.

“C’est un jardin extraordinaire :
Il y a des canards qui parlent anglais.
Je leur donne du pain, ils remuent leur derrière
En me disant “Thank you very much, Monsieur Trenet”.
On y voit aussi des statues
Qui se tiennent tranquilles tout le jour, dit-on
Mais moi, je sais que, dès la nuit venue,
Elles s’en vont danser sur le gazon.
Papa, c’est un jardin extraordinaire:
Il y a des oiseaux qui tiennent un buffet.
Ils vendent du grain, des petits morceaux de gruyère.
Comme clients ils ont Monsieur le maire et le Sous-Préfet.

Mon jardin extraordinaire.
Un ange du Bizarre, un agent nous dit :
“Étendez-vous sur la verte bruyère,
Je vous jouerai du luth pendant que vous serez réunis.”
Cet agent était un grand poète
Mais nous préférions, Artémise et moi,
La douceur d’une couchette secrète
Qu’elle me fit découvrir au fond du bois.
Pour ceux qui veulent savoir où le jardin se trouve,
Il est, vous le voyez, au coeur de ma chanson.
J’y vole parfois quand un chagrin m’éprouve.
Il suffit pour ça d’un peu d’imagination !
Il suffit pour ça d’un peu d’imagination !
Il suffit pour ça d’un peu d’imagination !”

(Charles Trenet – Un jardin extraordinaire)

Como todos sabem eu sou viciado em Lost e a série vive trazendo grandes músicas naquela putaria atemporal que é a série, então resolvi fazer um apanhado das grandes músicas que já tocaram em Lost

Quando a super Kate está fugindo, ela pega carona com um fazendeiro e na caminhonete está toacando Leavin On Your Mind

Quando as coisas estavam normalizando na ilha, Hurley pega seu cd-player e escuta Wash Away, Are you sure e Delicate até as pilhas acabarem

Sayd sai para explorar a ilha ao som de I Shall Not Walk Alone

Shennon canta Le mer, Opa, ela fala francês!

Hurley, o fanfarrão favorito da série canta I Feel good AAAAAAAAAAH!

Sawyer remando a jangada e cantando Redemption Songs, que beleeeza, pena que não foram tão longe

The first seagull cried this morning.  It sounded like the breaking of a thaw (not a squaw).  It sounded like the crack of ice on a deep harbor whose belly is covered in water splintered sameness.  It sounded like the mer, la mer, as sung by Charles Trenet whose tongue lolled sailboats of notes into l’aire.

I know for most of you right now it’s “le temps des finals” instead of “le temps des fetes” but I’m here to change all that. The French Connection is bringing a little holiday cheer – en francais!

01.Yelo Molo – Le Rapide Blanc
02.Marie-Élaine Thibert & Gregory Charles – Un Jour Noël
03.Luis Mariano – Les Anges Dans Nos Campagnes
04.Kermess – Glory Alleluia
05.Artistes Variés – Mon Beau Sapin
06.Banlieue Rouge – Les Bergers De Bacchus
07.John William – Noël Blanc
08.Marie-Élaine Thibert – Le Noël Des Enfants Du Monde
09. Anonymus – Les Anges Dans Nos Campagnes
10.Artistes Variés – Noël Des Petits Santons
11.Uncle Costa And The Scumbags – Il Est Né Le Criss D’enfant
12.Tino Rossi – Douce Nuit
13.Marie-Élaine Thibert – Vive Le Vent
14.Enrico Macias – Souviens-toi Des Noëls De Là-Bas
15.Oblik Instance – La Valse Des Sans-Abris
16.Charles Trenet – Chanson Pour Noël
17.Top Stars – Chantons Noël
18.Slam Corrida – Mon Beau Sapin
19.Marie-Élaine Thibert – Ave Maria
20.Yelo Molo – Do They Know It’s Christmas?
21.Marie-Élaine Thibert – Sainte Nuit
22.Dalida – Vive Le Vent
23.Necrotic Mutation – Ça Bergers
24.Tino Rossi – La Marche Des Rois Mages
25.Marie-Élaine Thibert – Joyeux Noël
26.Overbass – Avec Une Petite Caisse
27.Johnny Hallyday – Noël Interdit
28.Mes Aïeux – La Prison De Londres
29.Robert Miras – Jésus Est Né En Provence
30.Marie-Élaine Thibert – C’est L’hiver
31.Claude François – En Revant À Noël
32.Groovy Aardvark – Carol Of The Bells
33.Tino Rossi – Minuit Chrétiens
34.Marie-Élaine Thibert – Minuit Chrétiens
35.Barf – Minuit Chrétien