![]() Pastiche also has a place within the collection, as with the honkytonk vogueing of “Dann Schon Eher Der Pianoplayer” and the Brazilian inflections given the carnivalesque cover of “La Banda” that opens the set. 3”, for instance, features a host of retro-futuristic sound effects, as well as an authoritarian sounding robot voice, while the exquisitely named “Hippie Hippie” features an echoed out vocal chorus combined with one of the meanest 1960s bass tones I’ve ever heard. Bruhn and Georg Buschor’s “Der Computer Nr. What remains is pure lightweight pop, albeit noisome and brassy lightweight pop, which nonetheless leaves some room for experimentation. Beyond that, the only track likely to be familiar to the uninitiated is a spirited German reworking of the easy listening favorite “Music to Watch Girls By” (“Die Schönste Musik, Die Es Gibt”). The only of Gall’s French hits given the German language treatment that appears on En Allemand is the baroque headspinner “Bébé Requin”, which appears in slightly remixed form as “Hafischbaby”. If anything, this inspires a heightened appreciation for her power and range, although the naïve quirks that lent her vocals so much of their charm largely remain (with, for the German audience - and according to the site Ready Steady Girls! - an additional charm provided by her heavily accented German pronunciation). Gall, so often breathy and childlike on her French tracks, comes across the full on belter. The lighthearted whimsy of her French hits gives way to Teutonic bombast, the tinkling harpsichords and French horns replaced by barrelhouse piano and blaring trumpets. The first thing you notice upon listening to En Allemand is how much louder the German version of France Gall is. So insulated is this aspect of Gall’s career, in fact, that the only record of it that I could find on disc was the German import collection En Allemand – Das Beste In Deutsch. The result was a series of singles targeted specifically at the German market that today stands as a complete repertoire wholly separate from Gall’s more well-known French sides. A team of German based songwriters - including such hitmakers as Christian Bruhn and Kurt Hertha, as well as a young Giorgio Moroder - were then recruited to fashion a sound for Gall that was more in tune with the “schlager” style of German popular music. In response, a series of German versions of Gall’s French language hits were released into the market, but with little success. One non-French speaking territory where “Poupee de Cire, Poupee de Son” met with popular success was Germany, where the song was one of the biggest hits of the year. ![]()
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