When Alain Bashung was one year old he was sent to the Strasbourg area, in Wingersheim, to stay with his grandparents. He spent his childhood in the country in a conservative environment. When he was five years old he discovered Music most notably Kurt Weill, as he played harmonica. He was also a Choirboy in the church at Wingersheim and played basket-ball. At School he was regarded serious child.
He returned to Paris in 1959, where he discovered the great names of Chanson Française, the radio, American Rock with Gene Vincent, Buddy Holly and Elvis Presley. Whilst studying to become an accountant, he started a short lived Band with friends “les Dunces” whose style swong between Folk and Rockabilly. He quickly dropped his studies.
Bashung started a band with musicians met in Royan, a new band playing in Restaurants, Hotels and most of all the American bases. his career started with some difficulties with the release of his first single at 19 years of age “Pourquoi rêvez-vous des États-Unis ?” in 1966. He released a dozen singles, one using the pseudonym David Bergen, and two others. In 1971/1972 under the pseudonym "Hendrick Darmen" compositor and singer of the band “Monkey Bizness”. He wrote a number of songs for stars of the time like Noël Deschamps, but doesn't appear to have reached success.
In 1973, he played Robespierre in the Musical “La Révolution française” written by Claude-Michel Schönberg. He met Dick Rivers the singer of Les Chats Sauvages, for whom he composed and produced music.
He met musician Andy Scott and the songwriter Boris Bergman, and in 1977 wrote his first innovative LP “Romans photos”, though it was a Commercial failure in the context of Punk storming music.
In 1979, he released “Roulette russe”, a very dark and more Rock orientated album.
He confirmed his talent with critical acclaim and public success in 1981, with the rock influenced album “pizza”, mainly with one single from the album “Gaby, oh Gaby” that finally got Bashung success in the charts in 1981 followed by the single “Vertige de l'amour”, and started touring the bigger venues Notably “l'Olympia” in Paris.
In 1982, Bashung collaborated with Serge Gainsbourg on the complex album “Play blessures”, that did not achieve commercial success.
In 1983, he confused his fan base with an album deviating from the previous rock style, “Figure imposée”. In 1985, he came back with a number of titles written for “SOS Racisme” (anti-racism organisation).
In 1986, he released “Passé le Rio Grande”, which won him a “Victoire de la Musique”. Two singles achieved some success over the airwaves: “Malédiction” and “L'arrivée du tour”. However the album itself did not sell much.
In 1992, he started a long partnership with writer Jean Fauque, for “Osez Joséphine”, an album which also contains some cover of classic Rock such as “Night in White Satin”. His fan base grew and the album sold 350 000 copies. In 1994, he followed up with “Chatterton,” collaborating with Sonny Landreth, Ally McErlaine, Link Wray, Marc Ribot and Stéphane Belmondo. The key single extracted from this album is “Ma petite entreprise.” He started a two-year tour that results in the 1995 live album, “Confessions publiques.”
After recording a duet with Brigitte Fontaine "City" for her album "Les Palaces", Bashung returned to the musical world following a stint acting and in 1998 with “Fantaisie militaire”. While making this album in collaboration with Rodolphe Burger, Les Valentins and Jean-Marc Lederman. He will receive three Victoires de la Musique for the Album in 1999.
In 2002, he released the “L'imprudence” album to further critical acclaim. During the same year, he recorded with his wife, actress and comedian Chloé Mons “le Cantique des cantiques”. They created this title for their wedding in 2001, on a music written by Rodolphe Burger and on the basis a a new translation of the “Cantique des cantiques” from the Bible by the Author Olivier Cadiot.
In 2004, he released live double album “La tournée des grands espaces."
In 2005, for the twentieth Victoires de la Musique, he received an award for the best album of the last 20 years for “Fantaisie militaire.”
In the beginning of 2007, he participates in the tour “Les Aventuriers d'un autre Monde” with Jean-Louis Aubert (Téléphone), Cali, Daniel Darc, Richard Kolinka (Téléphone) and Raphaeël.
In March 2009, he recieved three Victoires de la Musique for his last album "Bleu Pétrol".
He passed away on March 14th, 2009 of complications of metastatic lung cancer.
Tu M'As Jeté
Alain Bashung Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Oune dé oune dé oune dé
Y'a oune dé ké pipé
Oune dé oune dé oune dé
Tu m'as jeté
Et j'ai roulé
Je suis sorti
Me défouler
T'as détesté
Désolé
Dé pipé
Les lilas refleurissent au bout du quai
C'est le bouquet
Tes doigts sur moi dans une forêt teutonne
Dolby sensurround
Toi rien que toi dans une forêt bretonne
Sans personne around
T'aimes tant qu'on t'aime
Que tous les autochtones
Sortent leur totem
Oune dé oune dé oune dé
Y'a oune dé ké pipé
Fanny tes mots veulent
Veulent tout dire
À fortiori la nuit
Dans un corridor
Tu m'accules à tort
Mauvais score
Dé pipé
Tes doigts sur moi dans uns forêt teutonne
Dolby sensurround
Toi rien que toi dans une forêt bretonne
Sans personne around
T'aimes tant qu'on t'aime
Que tous les autochtones
Sortent leur totem
Je m'en remets à la divinité
Pour tout ce qui est
Oune dé oune dé oune dé
Y a oune dé ké pipé
Oune dé oune dé oune dé
Y a oune dé qué pipé
Tes doigts sur moi
The lyrics to Alain Bashung's "Tu M'As Jeté" are enigmatic and open to interpretation. The song is delicately and poetically evocative, and the lyrics appear to speak to a failed relationship or a broken emotional connection. The first verse is repetitive and sounds like the singer is recounting an incident in which they were thrown out, possibly by a former lover. The lines "Tu m'as jeté / Et j'ai roulé" could be interpreted literally as being physically thrown out, or metaphorically as being emotionally rejected and left reeling from the experience. The lines "Moi qui voulais / Me défouler" suggest that the singer had planned to engage in some form of release or escapism, perhaps using the relationship as a crutch, that was ultimately denied to them.
Line by Line Meaning
Oune dé oune dé oune dé
Repetitive sounds possibly indicating a sense of confusion or disorientation.
Oune dé oune dé oune dé
Continued repetition with no clear meaning or purpose.
Y'a oune dé ké pipé
There is a dice that is loaded or rigged, suggesting deception or unfairness.
Oune dé oune dé oune dé
Repetition again, possibly emphasizing the theme of deception and confusion.
Tu m'as jeté
You have thrown me away or abandoned me.
Et j'ai roulé
And I rolled or fell, potentially indicating a physical fall as well as an emotional or mental one.
Je suis sorti
I came out or emerged, perhaps suggesting a newfound clarity or understanding.
Moi qui voulais me défouler
Me, who wanted to let loose or unwind.
T'as détesté, désolé
You hated it, sorry.
Dé pipé
Loaded or rigged dice, repeating the theme of deception and unfairness.
Les lilas refleurissent au bout du quai, c'est le bouquet
The lilacs are blooming at the end of the dock, it's a beautiful sight.
Tes doigts sur moi dans une forêt teutonne, dolby sensurround
Your fingers on me in a German forest, with Dolby surround sound.
Toi rien que toi dans une forêt bretonne, sans personne around
You, all alone in a Breton forest, with no one around.
T'aimes tant qu'on t'aime, que tous les autochtones sortent leur totem
You love being loved so much that even the natives are bringing out their totems, potentially suggesting a desire for attention or validation.
Fanny tes mots veulent, veulent tout dire
Fanny, your words want, want to say everything, potentially indicating a conversation with someone named Fanny where they are being overly expressive or emotional.
À fortiori la nuit dans un corridor, tu m'accules à tort, mauvais score
Especially at night in a hallway, you corner me wrongly, bad score.
Je m'en remets à la divinité pour tout ce qui est
I leave it to divinity for everything.
Y'a oune dé ké pipé
Repeating the earlier line about loaded dice, potentially reinforcing the theme of deception.
Oune dé oune dé oune dé
Final repetition of the introductory sounds.
Y a oune dé qué pipé
Another instance of loaded dice or cheating, suggesting a lack of fairness or justice.
Tes doigts sur moi
The lyrics cut off here, potentially emphasizing the physical touch and intimacy referenced earlier in the song.
Lyrics © Universal Music Publishing Group
Written by: ALAIN BASHUNG, JEAN MARIE FAUQUE
Lyrics Licensed & Provided by LyricFind
Alain B.
on La fille de la maison des dunes
Elle verra la vie qu’il me faut
Dans du marc de thé chaud
Car elle sait tous les secrets du tarot
Je me noie dans ses cheveux noirs
(je) Suis enfin au pouvoir
Car elle m’apprend à aimer et à voir
Elle m’apprend à aimer et à voir
La fille de la maison des dunes
La fille des brumes
La fille de la maison des dunes
La fille des brumes
Je me vois comme un bout d’étoile
Dans sa boule de cristal
Et je ne vois pas bien ou est le mal
Où est le mal
D’accord elle est un peu sorcière
La fille aux mains de pierre
Mais elle m’apprend à aimer et à voir
Elle m’apprend à aimer et à voir
La fille de la maison des dunes
La fille des brumes
La fille de la maison des dunes
La fille des brumes
Plus je me la mets dans la tête
Plus j’deviens une sorte de mouette
Plus je vole dans son monde de flou
Plus je m’éloigne de vous
Je me brûle à son soleil noir
Terriens, bonsoir…
Oui elle m’apprend à aimer et à voir
Elle m’apprend à aimer et à voir
La fille de la maison des dunes
La fille des brumes
La fille de la maison des dunes
La fille des brumes
…