Rouge - Fredericks Goldman Jones > Reviews > The Full Spectrum

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Originality
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Advantages:	Top quality pop - rock
Disadvantages:	Only to those without an open mind

Recommend to potential buyers:

yes

Full review

Put away those prejudices. Forget that Vanessa Paradis ever existed. Drive images of Sacha Distel from your mind. And believe me when I say that France *is* capable of producing music of the highest quality.

I first “met” Jean-Jacques Goldman in a sixth-form French lesson; our language assistant was a big fan of his and thought that his song “Je Te Donne” would make a good listening comprehension test. Most of those lyrics are still etched in my mind; the seed had been sown for a fascination with the Parisian singer-songwriter’s career to develop.

Even back then, Goldman was performing with the Welshman Michael Jones (“Je Te Donne” was a part-French, part-English duet between the two); the American Carole Fredericks also featured occasionally (her vocal performance in the live duet with Goldman of “Long Is The Road (Amèricain)” from the “En Public” album is also forever etched in my mind). In 1990, the three agreed to equal billing with the release of an eponymous studio album. At 39, Goldman was no longer the smouldering heart-throb adorning teenage girls’ bedroom walls throughout the country, and the move was a smart one on his part; an attempt to win a different kind of admirer. Its commercial success – selling over a million copies by the following year – ensured that the policy would continue and in 1993 the trio released this equally successful follow-up. “Rouge” is a stunning album featuring full-on blues-rock, heartfelt ballads, wandering jazz, melodic pseudo-rap and a Russian military choir. A *what*?

The voices of the choir can be heard in two or three tracks, but the masterpiece title track is built around the rich tenor sound. Following an atmospheric choral introduction in the traditional style, Fredericks, Goldman and Jones sing the ideals of communism – and why the philosophy ultimately fails: “Mais si la guerre éclate/ Sur nos idées trop belles/ Autant crever pour elles/ Que ramper sans combattre” (But if war breaks out/ Because of our too-beautiful ideals/ Better to die for them/ Than to give up without a fight). The choir returns to dramatic effect as the tempo is ramped up and bizarrely, reminds me of that time when a certain Bart Simpson switched the organ music for Iron Butterfly’s 17-minute epic “In-a-Gadda-Da-Vida”... As the dust settles, Goldman ironically laments “Un monde nouveau, tu comprends/ Rien ne sera plus jamais comme avant” (A new world, you know/ Nothing will ever be the same).

Innovation may be one of the trio’s strong points, but they are not averse to interpretation either. “Des Vies” carries strong echoes of a Dire Straits number with its clipped guitar style and even a mention of the group’s chain-smoking vocalist himself in the lyrics. The song looks at the lives of two apparent no-hopers and mourns “Qui de bien entendu, compris? On continue” (Who really listened or understood? Life goes on), and finally “Des vies où l’on aura eu peu, si peu à écrire” (Lives that had little, so little to write about). With “Elle avait 17 ans”, the differing vocal styles used result in an interesting track, which grows on you rather than shouting excellence from the first bar. The song is a tale of teenage impetuosity that every parent (and teenager!) will surely identify with; “Elle disait qui vivra verra, et moi je vivrai, vous verrez!” (She’d say that she who lives, sees, and *I* am going to live, you’ll see!). My favourite line of the whole album also appears here – I love it more for the shared delivery than the actual lyric: “Attend! Tais-toi! Mais pour qui tu te prends?” (Wait there! Shut up! And just who do you think you are?)

“Fermer les Yeux” is the traditional passionate closing piece with Goldman at the piano, which this time tells of the obsessive relationship between star and stalker – the isolation and the desperation. This is where Jean-Jacques is in his element; the staunchest Francophobe could not fail to appreciate the depth of feeling in his voice. I must also mention the most remarkable CD case I have ever seen. I’m not sure if it’s a special edition, but the steel relief (as illustrated by Ciao) is surely a unique design.

You don’t need to speak French to appreciate this excellent album – just have an open mind. The lyrics generally have a pleasant phonetic shape; “Que Disent Les Chansons Du Monde ?” is a particularly good example. There is also a wealth of musical talent to be heard from the regulars and guests; “Des Vôtres” is an unusual track that starts with a metronomic beat and lyrical delivery, progresses through anger and the merest hint of Fredericks’ magnificent vocal power and wanders off into jazzland. And of course there’s the full-on blues-rock cynicism of “On n’a pas changé” featuring top-class guitar work. For £14.99 at hmv.co.uk you too can enjoy the full spectrum of “Rouge”, from pretty pink to blood red. Et pourquoi pas?

Track Listing: Serre-Moi, On n’a pas changé, Que Disent Les Chansons Du Monde ?, Il Part, Juste Aprés, Rouge, Des Vôtres, Frères, Des Vies, Ne Lui Dis Pas, Elle Avait 17 Ans, Fermer Les Yeux