Guesch Patti was born on 19 March 1946 as Patricia Porasse, she was nicknamed Guesch (a Basque name) as a child, Patti is a pet name for Patricia. Her father, Jean Porasse, worked as an artistic director for the record company HMV-Pathé-Marconi, taking care of Gilbert Bécaud and later as an impresario for people like Eric Charden, Jean-Jacques Debout and Nino Ferrer. Aged 9 she danced the role of the Little Rat at the Paris Opera. When she was 19 she had a brief flirtation with singing as one half of the duo Yves et Patricia, a venture she was talked into by her father. They released 2 singles on the Philips label.
In the seventies she frequently worked for television as a dancer, for example in shows with Nana Mouskouri and Silvie Vartan. Later she moved into contemporary dance and became first dancer in Carolyn Carson's group, Prima Ballerina at the Scala in Milan and guest performer with Roland Petit and Maurice Béjart. She worked on the choreography for performances set to the music of Silvano Bussoti, Luigi Nono and Karlheinz Stockhausen. She also worked with the German choreographer Pina Bausch, practised Jazz dance with Michael Peter and worked on Robert Hossein's staging of Les Misérables.
In 1984 she teamed up with Lydie Callier and another girl to form the trio DaCapo. Virgin Records released one single, but declined to take it further. 1987 saw her emerge as a solo artist with the release of the single Étienne. It charted in 9 European countries, accompanied by a video that caused some controversy due to its erotic nature. It ended up winning Best Video awards in several countries. The success was remarkable because at that time modern French pop\rock music was rarely successful in non-French speaking territories. The international success of Étienne landed her an album recording contract with EMI, the band Encore was formed around her and together they produced her first album Labyrinthe, released in 1988. A second album Nomades followed in 1990. After an (amicable) split with Encore, a third album Gobe saw the light in 1992. Sales of Gobe were disappointing, Gobe was to be her last album for EMI.
After a period of reflection she met Étienne Daho, this contributed to a renewed interest in creating music. She teamed up with independent French label XIIIBis Records (now defunct) which resulted in the 1995 release of Blonde. Songs from this album were also used for the Peter Greenaway film The Pillow Book. Her most recent album is Dernieres Nouvelles, released in November 2000.
In recent years she has also appeared in film and television productions, most notably a co-starring role in the 1997 movie Elles where she appeared alongside Marthe Keller and Miou - Miou. 2001 saw her re-emerge as a dancer on stage in the production She smiles through tears. , Her latest work is the Dernieres Nouvelles DVD, released in February 2002 it features a video illustration of the music of the CD with the same title.
Jours étranges
Guesch Patti Lyrics
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Sans faille
Défaille
Nos pas
Où qu'il aille ...Qu'elle aille
Qu'il aille ...Qu'elle aille
Déraille
Comme un arsenic
Le chargrin me pique
La douleur me pique
Jours étranges
Pourquoi mon amour
Pour toi mon amour
A un de ces jours
Jours étranges
Chère jalousie passagère
Dans une complainte étrangère
Le temps de recommencer
Il faudra célébrer
Le temps des noces éphémères
Pas de faille
Sans faille
Défaille
Nos lois
Où qu'il aille ...Qu'elle aille
Qu'il aille ...Qu'elle aille
Déraille
Nos voies
Nos corps se délassent
Nos mains se ramassent
Que le bien nous fasse
jours étranges
Sans aucun détour
Procession d'amour
A compte à rebours
Jours étranges
The lyrics of "Jours étranges" by Guesch Patti explore themes of uncertainty, emotional roller coasters, and the complexity of relationships. The use of repetition throughout the song emphasizes the tumultuous and unpredictable nature of love.
The first stanza, "Pas de faille, sans faille, défaille, nos pas," suggests that there is an absence of imperfections or weaknesses, yet there is still a feeling of vulnerability. This could be interpreted as a reflection on how even the most seemingly perfect relationships can falter. The repetition of "nos pas," which means "our steps" reinforces the idea that both partners are navigating through this uncertain journey.
The following stanza, "Où qu'il aille... Qu'elle aille, qu'il aille... Qu'elle aille, déraille, nos voix," further emphasizes the unpredictability of love. The repetition of "aille," which means "goes" or "ventures," suggests that regardless of where each partner goes, things may derail, and their voices may become disjointed. This could represent a breakdown in communication within the relationship, leading to confusion and tension.
The chorus, "Comme un arsenic, le chagrin me pique, la douleur me pique, jours étranges," compares the pain and sorrow of love to arsenic. This metaphor suggests that love can be toxic and harmful, causing emotional pain and confusion. The repetition of "jours étranges," meaning "strange days," reflects the underlying feeling of confusion and unpredictability throughout the song.
The subsequent lyrics mention "chère jalousie passagère," which translates to "dear passing jealousy." It implies that temporary jealousy is present in the relationship, adding to the already complex emotions. The phrase "le temps de recommencer, il faudra célébrer" suggests that despite the difficulties, there is still a desire or need to start over, to celebrate the fleeting moments of happiness in this complicated love.
The second half of the lyrics reiterate the themes of vulnerability and uncertainty. The repetition of "pas de faille, sans faille, défaille, nos lois," mirrors the beginning of the song and reminds us that even though we may try to lead flawless lives, we are still susceptible to faltering. Similarly, the repetition of "nos voies," which means "our paths" or "our ways," underscores the idea that our actions within relationships may diverge or go off track.
The final stanza, "Nos corps se délassent, nos mains se ramassent, que le bien nous fasse, jours étranges," suggests a sense of physical and emotional connection between the partners. It implies that even in the midst of confusion, there are moments of intimacy and solace. The line "que le bien nous fasse," meaning "let the good come to us," may represent a plea for positive experiences and outcomes, despite the strange and uncertain nature of their relationship. The phrase "jours étranges" is repeated once more, reinforcing the overarching theme that love can be both confusing and unpredictable.
Overall, "Jours étranges" dives into the complexities, challenges, and temporary joys found within romantic relationships. It explores the vulnerability, emotional roller coasters, and uncertainties of love, lending it a sense of relatability for anyone who has experienced the highs and lows of a complicated partnership.
Line by Line Meaning
Pas de faille
There are no flaws
Sans faille
Flawless
Défaille
Weakens
Nos pas
Our steps
Où qu'il aille ...Qu'elle aille
Wherever he goes ... Wherever she goes
Qu'il aille ...Qu'elle aille
Whether he goes ... Whether she goes
Déraille
Derails
Nos voix
Our voices
Comme un arsenic
Like arsenic
Le chargrin me pique
Sorrow pricks me
La douleur me pique
Pain pricks me
Jours étranges
Strange days
Pourquoi mon amour
Why, my love
Pour toi mon amour
For you, my love
A un de ces jours
To one of these days
Jours étranges
Strange days
Chère jalousie passagère
Dear passing jealousy
Dans une complainte étrangère
In a foreign lament
Le temps de recommencer
The time to start over
Il faudra célébrer
We must celebrate
Le temps des noces éphémères
The time of ephemeral weddings
Pas de faille
There are no flaws
Sans faille
Flawless
Défaille
Weakens
Nos lois
Our laws
Où qu'il aille ...Qu'elle aille
Wherever he goes ... Wherever she goes
Qu'il aille ...Qu'elle aille
Whether he goes ... Whether she goes
Déraille
Derails
Nos voies
Our paths
Nos corps se délassent
Our bodies relax
Nos mains se ramassent
Our hands come together
Que le bien nous fasse
May the good be with us
jours étranges
strange days
Sans aucun détour
Without any detour
Procession d'amour
Procession of love
A compte à rebours
With a countdown
Jours étranges
Strange days
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Nikolas SoDiant
Guesch Is Love 💎