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Here's an all-France Gall mix, featuring some of my favourite songs of hers from 1963 to 1972. I say some of because, well, I love pretty much all her stuff from that era - it took some restraint to only choose 38 songs! You'll find some of her absolute classics here, as well as some lesser-known songs that are equally wonderful. After making the mix, I realised I drew a lot from my favourite album of hers, the 1967 psych-pop classic, 1968. I also seem to have included every song where she does her adorable version of scatting, which is really just the best thing ever. As well as her French songs, I've included a few of her German tracks, the Japanese version of 'Un prince charmant' and the Italian version of 'La Quatrième Chose'.

I've already gone into what I love about France Gall's music, so I'm not going to get descriptive here, but just let the music speak for itself. My hope is these selections would make someone new to her music fall in love with it as much as I did. And perhaps there are a few things here that are not so readily familiar to established French pop fans. 

I'm excited to share my second mix for Christmas this year, which features seasonal tunes from international female pop singers of the 1960s. This was harder to put together than I thought! Being a big fan of both sixties girl pop from around the world and Christmas music, I figured this would be a piece of cake. But I soon realised I only had songs that fit the bill from a limited number of countries. Branching out more broadly was quite a fun adventure, and I really adore some of the songs on this mix that are new to me, like the stunning tracks from Monna Bell and Maria Dolores Pradera. I know some Rita Pavone but her 'White Christmas' cover, 'Bianco natale', had escaped me, and it's just gorgeous. It was also interesting to get a sense of which places went for Christmas pop singles, and which didn't. Italy, for example, had a booming young beat music scene but I found very little in the way of yuletide pop tunes. Most of the Italian stuff I found was very traditional, even, surprisingly, from some rock bands. Perhaps in some more religious countries, too contemporary an approach to Christmas songs was deemed too irreverant. I lucked out with some countries altogether – some places did not produce enough girl pop for their singers to also dabble in Christmas singles, others I don't really know where to begin exploring. If you know of any sixties holiday songs from female pop singers from countries I'm missing here, I'd love to hear your recommendatons. 

The gorgeous illustration of Sylvie Vartan accompanying the mix is by the very talented Olivier C. You can check out and support his amazing work here.

The name of this mix was inspired by the delightful titles of Japanese retro comps like Japanese Pop Cuties in Swingin' 60s or Japanese Pop Christmas In Dreamy '60s. I'm not intending to make fun of Japanglish at all; in fact, I found the syntax (or my attempt at it, which lacks the Japanglish flair) made more sense to me in trying to convey what this mix was about than conventional English structure would allow. 

Who needs the same old sappy Christmas tunes when there's a whole world of weird and wonderful festive music to explore? I love digging into the many fascinating, original takes on holiday music that countless artists have recorded over the years. And sometimes, the more bizarre, the better. My first Christmas mix this year is a collection of some of the most enjoyably unconventional seasonal tunes that I've come across. Some are simply delightfully eccentric, while others get genuinely weird... and even a little creepy. If you need an antidote to the cliches and suffocating sentimentality that can be hard to escape at this time of year, hopefully you'll enjoy this mix of freakish festive goodness!

In part one, I shared a video of Uta Taeger performing 'Hier, aujourd'hui, demain', the A-side of her 1969 single, on sixties French television. The B-side is the superb 'Baudelaire':

Here, Uta recites the title poet's 'Recueillement' from Les Fleurs du mal over a potent psych rock jam, brimming with fuzzy, heavy guitars, phaser effects and rhythmic electric organ. The song's credits read 'musique de Groscolas', referring to Pierre Groscolas, at the time a songwriter, session musician and backing vocalist, most notably for Eddy Mitchell. Groscolas, who was also a founding member of the sixties band Le Cœur, would go on to find success as a solo singer-songwriter in the early seventies, releasing more standard fare than the striking 'Baudelaire' shows he was capable of conjuring up.

The Shangri-Las

'Baudelaire' is an interesting pairing with the A-side, a cover of The Shangri-Las' haunting 1966 single 'Past, Present and Future'. An unusual girl group release, the original is sombre and stripped back, its arrangement mostly a simple piano accompaniment borrowed from Beethoven's Moonlight Sonata. Over this, lead vocalist Mary Weiss forlornly speak-sings a soliloquoy that captures the devastation and shock of first heartbreak. Uta's version has a slightly sped up tempo and there's a lighter touch to her vocal delivery, but the cover otherwise sticks close to its source in tone and theme, the lyrics a mostly faithful translation.

Flip the record over and the change in style is stark. It would seem 'Baudelaire' has nothing in common with the A-side, save for the spoken word vocals. Here you have a psyched-up reading of a weighty, once-banned poem backing an angsty teen ballad about failed first romance. 'Baudelaire' is just the sort of wild experiment that sometimes gets smuggled onto a B-side, where an artist can let loose and express something that the main cut, intended for radio play and chart success, doesn't allow. But looking more closely at the two songs, they may be more of a deliberate pairing than it would seem. It turns out there's actually an intriguing thematic continuity between them. And though the A-side is the more radio-friendly, it's a curious choice for a debut single. A teen pop song from three years prior – an eternity in pop years back then – that didn't quite crack the American top fifty, covered by a nearly thirty-year-old actress, wasn't a likely formula for a hit record. These two things taken together make me wonder if this wasn't more of an artistic endeavour than an attempt to launch a new female pop star. Perhaps it was even, in a sense, a concept single.

Eurovision has wrapped up for another year, but thanks to the magic of the internet, pretty much every performance lives on forever – for better or worse. Amid the endless amounts of cheese and sap, there are some truly worthwhile gems to be found. You can check out my Eurovision tag for a few of my vintage picks that generally don't make it onto lists of nostalgic favourites.

Today I want to revisit one such entry: 'Boum badaboum', performed by Minouche Barelli, a French singer who represented Monaco in 1967. Written by Serge Gainsbourg, it's a rather bizarre number for the contest, one that certainly stands out among the typical mawkish ballads and emptily jaunty tunes. In a bold, shouty vocal style, backed by a booming rhythm and disorienting strings, Barelli brazenly sings of her desire to experience all life has to offer in the face of an expected nuclear apocalypse. It's perhaps one of the first genuinely weird entries in a contest that now doesn't feel complete without at least one a year.

'Boum badaboum' was the second of Gainsbourg's three contributions to Eurovision. In 1965, France Gall took home first prize for Luxembourg with Gainsbourg's 'Poupée de cire, poupée de son'. The song was innovative for the contest, with its uptempo rhythm and lyrics rich with layered meaning. Gainsbourg pulled off a seemingly impossible feat with this entry: he impressed Eurovision judges accustomed to more conservative, sentimental fare; he didn't compromise his literate, chanson-inspired lyricism1; he deftly satirised teen pop; and he created a successful modern pop song that appealed to and expanded Gall's young fanbase. The song poetically reflects on the artifice of a pop idol, and the gulf between the realms a performer like Gall inhabited, that of the worldy, confident figure in her songs and the limited, sheltered reality of her lived experiences. While the song "unobtrusively plays on words to deconstruct the yéyé industry"2, there's an empathy alongside Gainsbourg's wryness that gives it poignancy. Gall's later recollections of her life as a pop star during this era suggest she found Gainsbourg's lyrics painfully apt.

Though a less sophisticated effort, it seems with 'Boum Badaboum', Gainsbourg was continuing to attempt to push the boundaries of what was acceptable to Eurovision audiences and judges. Nineteen-year-old Barelli sings of wanting to experience life before the world ends in a nuclear explosion. She pleads for a little more time to have the chance to fall in love, and, it's heavily implied, experience sexual pleasure:

Fans of the peculiar charms of French-born songstress and actress Claudine Longet may know the beguiling 'Electric Moon' from her 1971 album, We've Only Just Begun. The song was written by Donovan – whose brilliance and versatility as a songwriter tends to be seriously underrated, in my opinion – and produced and arranged by Nick DeCaro. Assigned by A&M Records to work on Longet's music in 1966, DeCaro was the chief architect behind her brand of lush easy-listening, arranging and/or producing seven of her eight albums (including 1974's Sugar Me, which remained unissued until 1993). Andy Williams, Longet's then-husband, liked DeCaro's work so much, he hired him to work on his own records.

1. Claudine Longet - Electric Moon (1971)
   
2. Claudine Longet - Como la luna (1971)

Longet also released a Spanish language cover of 'Electric Moon' as 'Como la luna'. She appeared on a show called Estudio Abertio on Spain's TVE around early October 1971, performing this and the B-side 'Mucho tiempo mas', a cover of Linda Ronstadt's 'Long, Long Time'.

Donovan never released a version himself but, according to this EIL listing, did record a demo acetate for Longet. The only recording of Donovan performing the song to have surfaced is in a 1970 film called There Is An Ocean, which was unreleased until its inclusion in the 2005 box set, To Try For The Sun.

A mix for Halloween featuring music from 70s European horror soundtracks, eerie vintage folk-pop, contemporary pop noir and more. Last year, I made a devil-themed mix drawing from a similar range of artists, but where that one was skin-crawlingly creepy, this is more softly unnerving, with undercurrents of romance and sensuality. It makes me vaguely picture an imaginary classic horror film where a beautiful heroine is lured into a haunted forest by an irresistible but diabolical lover. Amid the prettily haunting sounds, there are still some genuinely terrifying moments – Goblin's bloodcurdling 'Sighs', from Suspiria, for example – should this ominous realm start to feel too cosy. 

The mix image is Elsa Martinelli in Roger Vadim's 1960 vampire flick, Et mourir de plaisir (aka Blood and Roses).

Tracklist (Hide details)

1. François De Roubaix - Les Lèvres Rouges (1971)
   From the Les Lèvres Rouges (Daughters of Darkness) soundtrack.
2. Beautify Junkyards - Longo Amanhã (2015)
   From The Beast Shouted Love.
3. Ennio Morricone - Astratto IV (1971)
   From the Veruschka - poesia di una donna soundtrack.
4. Marianne Faithfull - Oh Look Around You (1965)
   From her self-titled debut album.
5. Daniela Casa - Ignoto (1975)
   From Società Malata, reissued on Penny Records in 2013, and again on Dagored this year.
6. Death and Vanilla - Shadow and Shape (2015)
   From To Where The Wild Things Are.
7. Comus - Bitten (1971)
   From First Utterance.
8. The Paradise Motel - Bad Light (1996)
   From Still Life.
9. Broadcast - The Sacred Marriage (2013)
   From the soundtrack to Peter Strickland's Berberian Sound Studio.
10. Jenny Hval - In the Red (2016)
    From Blood Bitch.
11. Cat's Eyes - Pavane (2015)
    From the soundtrack to another Strickland film, The Duke of Burgundy.
12. Françoise Hardy - The Rose (1966)
    From Hardy's first English language album, In English.
13. Piero Umiliani - Nocturne (1973)
    From To-Day's Sound, reissued on Easy Tempo in 1997.
14. Ennio Morricone - Metamorfosi (1971)
    From the La classe operaia va in paradiso.
15. Laurence Vanay - Soleil Rouge (1974)
    From Galaxies, reissued on Lion Productions in 2013, and as a double LP this year.
16. Espers - Flowery Noontide (2005)
    From Espers.
17. Cat's Eyes - Black Madonna (2015)
    From The Duke of Burgundy.
18. Les Maledictus Sound - Heathcliff Y Cry Your Name (1968)
    From Attention (or arguably Les Maledictus Sound - I'm uncertain of the correct title), the only release by this band helmed by Jean-Pierre Massiera.
19. Keith Seatman - A Slight of Hand (2013)
    From Boxes Windows & Secret Hidey-Holes.
20. Isobel Campbell & Mark Lanegan - The False Husband (2006)
    From Ballad Of The Broken Seas.
21. Jane Weaver - Parade of Blood Red Sorrows (2013)
    From the 2015 compilation The Amber Light. Originally released on the Initiaani Kesä soundtrack. 
22. Belbury Poly - Pan's Garden (2006)
    From The Owl's Map.
23. Spirogyra - Old Boot Wine (1973)
    From the 2004 compilation Gather In The Mushrooms – The British Acid Folk Underground 1968-1974. Originally from the album Bells, Boots and Shambles.
24. Phillip Lambro / Orriel Smith - Hannah Emerges In the Night (1973)
    Originally from the Crypt of the Living Dead soundtrack, this was included as a bonus track on the 2011 digital issue of Smith's 1968 single, 'Tiffany Glass' (which was also written by Lambro).
25. Still Corners - Demons (2011)
    From Creatures of an Hour.
26. Acanthus - Sleeping Beauty (Samba Des Vampires) (1971)
    From the soundtrack to Jean Rollin's Le Frisson des vampires, released by Finders Keepers Records in 2010.
27. Emil Richards - Opal (October) (1966)
    From New Sound Element "Stones", reissued by The Omni Recording Corporation in 2012.
28. Lake Ruth - One Night As I Lay On My Bed (2016)
    From Actual Entity.
29. Colleen - Le Labyrinthe (2007)
    From Les Ondes Silencieuses.
30. Angelo Badalamenti - Laura's Dark Boogie (1990)
    From Twin Peaks: Season Two Music and More (2007).
31. Maxine Sullivan - Dark Eyes (1938)
    From the 1997 compilation The Chronological Classics: Maxine Sullivan 1937-1938.
32. Jean Prodromidès - Carmilla et Léopoldo (1960)
    From the Et mourir de plaisir (Blood and Roses) soundtrack.
33. Harmonic 33 - Long Shadow (2005)
    From Music For Film, Television & Radio, Volume 1.
34. Goblin - Sighs (1977)
    From the soundtrack to Dario Argento's Suspiria, reissued on Bella Casa's The Awakening box set in 2012.
35. Harper / Russe / St. George  - Nightwalker (1972)
    From Electrosonic, a library music record Don Harper, Delia Derbyshire and Brian Hodgson (the latter two under pseudonyms) made for KPM, reissued by Glo-Spot in 2006.
36. Clara Rockmore - Rachmaninoff: Vocalise (1977)
    From The Art of the Theremin.
37. Ela Orleans - Nocturne (2012)
    From Tumult In Clouds.
38. Elysian Fields - Black Acres (2000) – Free download available from Epitonic.
    From Queen Of The Meadow.
39. Luboš Fišer - Blood Red Rose (1972)
    From the Morgiana soundtrack, released by Finders Keepers Records in 2013.
40. Mono In VCF - We Could've Owned The World (2008)
    From Mono In VCF.

1. Eva - Moon River (1974)
2. Eddie Lee Mattison - El río de la luna (1972)

A joyous, uptempo pair of covers of the Henry Mancini and Johnny Mercer classic, 'Moon River'. Eddie Lee Mattison's version is a pop reggae take (similar to Greyhound's version, as someone at 45cat notes) sung in Spanish, which I've ripped from the vinyl single.

Eva's funk cover comes from a CD reissue of her 1974 self-titled album. Born Eva Correia José Maria, Eva was usually known as Evinha. At just seven years old, she formed the vocal group Trio Esperança with her brother and sister. The trio, whose recordings mostly fit the Jovem Guarda style, scored a number of hits throughout the sixties. Evinha left them in 1968 and went onto a successful solo career. The group continued without her – replacing her with another sister – until the 90s, when she rejoined them.

Links: Evinha on AllMusic.

An intriguing, Egyptian-themed slice of French psych-pop from, presumably, the late 60s by the mysterious Milord. The title question asks, "Besides the Sphinx, what is there?" I have no idea what he is on about, but it sounds like an expression of wonder or philosophical rumination. French speakers, feel free to enlighten me. 

I can't find any lead on who Milord was. The songwriting credit for every song is Milord Godefroy de Zaer, which sounds distinctly made up. The record was released on Disques R, whose only output appears to be this EP (it's the only release listed on both Discogs and Encyclopédisque). 

Record sleeve (click to enlarge):

If you like this song, you may be interested in a mix I made a few years ago called Polychromé, which features this track and other French psych-ish stuff from the 60s and 70s. There's also a part two, Névrose.

This is the first time I'm trying the html5 music player as the default player, with flash as fallback. Please let me know if there are any issues with it. I'd like to get rid of the flash player at some point, so let me know if you need me to keep it.