Daho is best known in Britain for his appearence on the number 11 Saint Etienne hit single "He's On The Phone", which is an English-language adaptation of his 1984 French-language hit "Weekend à Rome". He also collaborated with Saint Etienne on the Resurrection EP, his album Eden, and his single "Le Premier Jour", itself based on the track "Ready or Not" from Sarah Cracknell's 1997 solo album "Lipslide".
He has worked with many other artists, such as Chris Isaak, Marianne Faithfull, Elli Medeiros, Astrud Gilberto, Vanessa Daou, the Swingle Singers, and more. His duet with Charlotte Gainsbourg, titled "If", was released in 2004.
His 1996 album Eden featured a mix of electronic-oriented songs, ranging from downtempo ballads to drum 'n' bass-influenced tracks, and HiNRG dance. Corps & armes (2000) saw Daho return to a more orchestral sound fuelled by traditional instruments, such as piano, acoustic guitar, and horns. In 2004, he released Réévolution, which featured a guitar-heavy rock sound.
In 2012, he produced and composed songs for French comedian/singer Lou Doillon for her first album Places.
Étienne Daho is one of the most influential French pop singers of the last four decades. His extensive work has seen him collaborate with many artists, and explore a wide range of musical styles.
Laisse Tomber Les Jaloux
Étienne Daho Lyrics
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Y a trop de monde
Nightclub, tequila, je m'enivre
Je parle trop, bien trop
À quoi servent les mots?
M'embarrassent plutôt
J'préfère tes gestes
Nightclub, slow cha-cha, tu chavires
J'suis pas de bois
Nightclub, slow cha-cha, tu chavires
J'suis pas de bois
De bois
Les lumières font la fête
Et sont pas les seules, j'me laisse aller
J'me laisse aller
Lentement
J'me laisse aller
Laisse tomber les jaloux, montrons-nous
Puisqu'on est bien, le monde peut nous mater
Peu importe
Laisse tomber les jaloux, montrons-nous
Puisqu'on est bien
Reste là
Encore une danse
Encore une danse
À quoi servent les mots?
M'embarrassent plutôt
J'préfère tes gestes
Nightclub, je te cherche, je te trouve
Y a trop de monde
Nightclub, tequila, je m'enivre
Je parle trop, bien trop
À quoi servent les mots?
M'embarrassent plutôt
J'préfère tes gestes
J'préfère tes gestes
J'préfère tes gestes
Laisse tomber les jaloux, montrons-nous
Puisqu'on est bien, le monde peut nous mater
Peu importe
Laisse tomber les jaloux, montrons-nous
Puisqu'on est bien
Reste là
Encore une danse
Encore une danse
Laisse tomber les jaloux (laisse tomber les jaloux)
Laisse tomber les jaloux (laisse tomber les jaloux)
Laisse tomber les jaloux (laisse tomber les jaloux)
Laisse tomber les jaloux (laisse tomber les jaloux)
Laisse tomber les jaloux (laisse tomber les jaloux)
The lyrics of Étienne Daho's song "Laisse Tomber Les Jaloux" paint a vivid picture of a night out in a nightclub, where the singer is seeking and finding themselves amidst a crowded and lively atmosphere. The mention of tequila and getting intoxicated suggests a sense of escapism and abandon in the moment. The singer admits to speaking too much, perhaps due to the allure of the night and the heightened emotions that come with it.
The refrain "À quoi servent les mots?" which translates to "What are words for?" conveys a sense of unease or discomfort with verbal communication. The singer seems to prefer actions and gestures over words, hinting at a desire for a deeper, more visceral connection with the person they are with in the nightclub.
The mention of a slow cha-cha and feeling swept away indicates a romantic or sensual undertone to the night. The singer declares that they are not made of wood, implying vulnerability and a willingness to be emotionally moved by the experience. The pulsating lights of the nightclub set the scene for a carefree and liberating moment of letting go and allowing oneself to be carried away by the music and atmosphere.
The refrain "Laisse tomber les jaloux, montrons-nous" which translates to "Let go of the jealous, let's show ourselves" conveys a sense of defiance and self-assurance. The singer asserts that they are happy in the moment, and it doesn't matter what others think or say. The call to ignore jealousy and be true to oneself implies a sense of empowerment and confidence in reveling in the present moment without reservation.
Overall, the song captures a snapshot of a night of revelry and liberation in a nightclub setting. It explores themes of escapism, sensuality, emotional vulnerability, and self-assertion. Through its vivid imagery and evocative language, the lyrics invite listeners to immerse themselves in the energy and passion of the moment, while also reflecting on the power of non-verbal communication and the importance of staying true to oneself despite outside judgment.
Line by Line Meaning
Nightclub, je te cherche, je te trouve
In the nightlife scene, I search for you and find you
Y a trop de monde
There are too many people around
Nightclub, tequila, je m'enivre
In the nightclub, tequila makes me drunk
Je parle trop, bien trop
I talk too much, way too much
À quoi servent les mots?
What are words for?
M'embarrassent plutôt
They rather embarrass me
J'préfère tes gestes
I prefer your actions
Nightclub, slow cha-cha, tu chavires
In the nightclub, slow cha-cha, you sway
J'suis pas de bois
I'm not made of wood
Les lumières font la fête
The lights are partying
Et sont pas les seules, j'me laisse aller
And they're not the only ones, I let myself go
Lentement
Slowly
Laisse tomber les jaloux, montrons-nous
Let go of the jealous ones, let's show ourselves
Puisqu'on est bien, le monde peut nous mater
Since we're happy, the world can watch us
Peu importe
It doesn't matter
Reste là
Stay here
Encore une danse
One more dance
Lyrics © Downtown Music Publishing
Written by: Etienne Daho, Frank Darcel
Lyrics Licensed & Provided by LyricFind