\7.8.23\
Undoubtedly a man of many facets, beginning with the formation of the foundational Britpop group Pulp in the late 70’s early 80’s, and continuing to today with his additions to the score for the film Asteroid City. Wes Anderson’s work has been a recent throughline in Cocker’s career, with the infamous “Petey’s Song” appearing in the film Fantastic Mr. Fox. He would also voice the character of Petey, adding to his acting career having also played a musician in Harry Potter and the Goblet of Fire. After his appearance in the 2009 film, he would go on to be a radio host for the BBC full time until 2017 when he released Room 29, a concept album with Chilly Gonzales. Since then Cocker has gone on to form a solo act JARV IS… releasing Beyond the Pale in July 2020.
Tip-Top’s story begins in the pages of The French Dispatch’s script, the wide-ranging anthology film from the master of the comedy drama, Wes Anderson. Following his second stop motion film Isle of Dogs, Anderson began to weave the story in 2018. Tip-Top is described as a popular French artist in the world of this movie, with this album getting specific screen time in an infamous scene at a jukebox in a café. The way this record comes together is an amalgamation of different French pop songs vaguely related to the time period the film is meant to be set in. Some may see a resemblance to the covers by Seu Jorge used in the Wes Anderson film The Life Aquatic with Steve Zissou. These covers consist entirely of David Bowie tracks loosely translated into Portuguese and performed more striped down on acoustic guitar. While the five tracks that are included on the film’s score, and the other ten on the full companion album, do bring a more complete atmosphere to the work, what Jarvis Cocker brings to life on this album is beyond comparison.
The source material for this record was hard to find in a complete playlist, so through my research I have compiled the best collection I could (link). Some tracks are impossible to find the original of. “Mao Mao” is a track from a film score that is not on Spotify, nor is the original artist of the track. A rendition by Gian Peretti takes its place, appearing to be from around the time of the release of the film, but nothing further could be found out about the track’s history.
Our scene opens on the track, “Dans Ma Chambre”, has a similar story. Originally performed by Dalida and released in 1966, this track does not make its way to Spotify in any form. You can find this track around the Internet, and perhaps on Spotify in European markets. Having listened to a performance on YouTube (link), the adaption Jarvis Cocker pulls off feels very faithful. The song has a very large and grand sound, similar to “Aline”, filling what feels like a Wes Anderson-sized mold. The use of strings and a choir of voices inspires awe without reservation. In his rendition, the percussion brings a lot more power to the track, giving it a groovier feel while empowering it all at once.
As a whole, Cocker slows a good bit of these tracks down while bringing more strength to the delivery, as well as tightening up the arrangements. I am a firm believer that both versions of the songs have a great deal of value, but it would also be ignorant to ignore the arrangement Cansons d’Ennui adds to each track. By putting certain tracks next to each other, it adds a flow and context to every track. The arrangement itself is greater than the sum of its parts while at the same time elevating (or at the very least evolving) any and every track.
One song that stands out for how little is changed would definitely be “Contact”. Originally by Brigitte Bardot, The raw and stripped sound that Cocker’s work here is characteristic for can also be heard in Bardot’s original, making the two a perfect match.
The track “Amour, Je Te Cherche” was a great challenge in terms of language, originally being sung in English and requiring translation. Laetitia Sadier, who provided additional vocals on “Paroles, Paroles” would become instrumental in the language struggle, providing a translation of this track. Sadier joins this project with a strong background in the avante-pop scene, having helmed Stereolab and other projects. Her perspective and experience can be felt throughout Chansons d’Ennui. On top of this, she would continue to provide coaching to Cocker throughout the record, helping him perfect his pronunciation and performance.
I would describe the differences between the works as evolutionary. In the original "Looking For You", Nino Ferrer brings the cinema to the listener, with motorway traffic sounds that intercut an ensemble harmony with a patchwork of synth and orchestral wind instruments that really fill the space. Feeling both slower and more chaotic, It tows a fine line quite well. Cocker brings more urgency with his vocal deliveries with a more relaxed downtempo beat that includes some similar synth, while at the same time swapping the wind for string orchestra and harp.
Dalida contributes yet again with the track “Paroles, Paroles” that thankfully is on streaming. On this track, Jarvis Cocker takes a backseat to Sadier who is allowed to shine as Dalida does in the original. Cocker, for his part, contributes a spoken word accompaniment that Alain Delon provides on the original track. Without an understanding of the words being spoken/sung, the feeling of a conversation like that in “Baby It’s Cold Outside” can be interpreted. But hopefully less problematic, of course.
Last, and certainly not least, “Aline”. Beyond a shadow of a doubt, this is the best cover on this album, and overall my favorite song of his whole discography. Much credit, as usual, must go to Christophe for the original work that brings an eclectic sound to western parlor tunes and some cowboy twang that was certainly of its time. Cocker takes this and strips it, refines it, and pours his entire presence into every second of its runtime. Starting with that string orchestra and chorus I spoke of earlier, carrying through with the reluctant guitar that leaves room for gentle keys and the iconic percussion that has come to define this record through and through.
Some short but full attention should be paid here to the music video for this track directed by Wes Anderson and animated by the same artist behind the beautiful scenes in the film meant to pay homage to The New Yorker’s illustrations.
While it may be easy to write this off as a covers album when you hear about it, What this is, more accurately, is the molding of the French pop sound into Wes Anderson’s vision of his characters and the world they inhabit. Jarvis Cocker provides an unforgettable and invaluable addition to Wes’ filmography and widens the breadth of his world.
Owning this piece on vinyl feels right, and puts you into the world of The French Dispatch like no other. I would save this album for a cocktail party or to have on while doing crafts, or for me, slogging through a massive photo edit project. This is perfect for when your hands are busy and your brain needs some stimulation.
Comments
Post a Comment