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.
Promèsses
Guesch Patti Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sans espèce de dédain aux paroles qu'on se dit
Des promesses malhonnêtes au destin qu'on détruit
N'a de cesse que la laisse qui étrangle ma vie
Maladresse aux promesses qu'on nous donne en détail
Politesse manifeste aux erreurs qui déraillent
C'est la messe aux coulours de tristesse qui défaille
T'aimer, s'aimer, t'aimer, s'aimer
Qu'aimer, qu'aimer, qu'aimer, qu'aimer
L'animal que l'on blesse de promesse indécentes
A l'enfant que l'on berce de paroles suffisantes
Les kermesses aux prouesses de manière déroutante
N'a de cesse que la laisse qui étrangle l'amante
T'aimer, s'aimer, t'aimer, s'aimer
Qu'aimer, qu'aimer, qu'aimer, qu'aimer
T'aimer, s'aimer, t'aimer, s'aimer
L'animal que l'on blesse de promesse sans favour
A l'enfant que l'on berce de mensonges sans pudeur
Les kermesses, promesses, messes... une lueur
N'a de cesse que la laisse qui étrangle non cœur
T'aimer, s'aimer, t'aimer, s'aimer
Qu'aimer, qu'aimer, qu'aimer, qu'aimer
T'aimer!
In Guesch Patti's song "Promesses," the lyrics speak to the speed and amplification of lies that we tell each other. The deceitful promises that we make ultimately end up destroying our destinies. The metaphor of a dog leash is used to describe the suffocation of life due to the cycle of dishonesty. The language used in the song is poetic and reflective, painting a picture of the harsh reality of promises that are broken.
The lyrics also touch on the topic of how we can be polite to each other even when we are making mistakes. The irony of the situation is highlighted through the use of the metaphor of a funeral procession that is colored with the sadness of the mistakes that have been made. The overlying theme of the song remains the same; the cycle of dishonesty continues and we end up strangling ourselves with the leash of our own making.
Overall, the lyrics of the song invite the listener to reflect on their own patterns of behavior and how they may be contributing to the cycle of dishonesty. The imagery and metaphors used help to create a vivid picture of the suffocation that occurs when we are dishonest with each other.
Line by Line Meaning
La vitesse du mensonge qui soudain s'amplifie
The speed at which lies suddenly grow stronger
Sans espèce de dédain aux paroles qu'on se dit
Without any disdain for the words we say to each other
Des promesses malhonnêtes au destin qu'on détruit
Dishonest promises that destroy destinies
N'a de cesse que la laisse qui étrangle ma vie
Only the leash that strangles my life does not cease
Maladresse aux promesses qu'on nous donne en détail
Awkwardness to the promises given to us in detail
Politesse manifeste aux erreurs qui déraillent
Obvious politeness to mistakes that lead us astray
C'est la messe aux coulours de tristesse qui défaille
It's a sad-colored mass that falters
N'a de cesse que la laisse qui étrangle ma taille
Only the leash that strangles my waist does not cease
T'aimer, s'aimer, t'aimer, s'aimer
To love you, to love ourselves, to love you, to love ourselves
Qu'aimer, qu'aimer, qu'aimer, qu'aimer
What to love, what to love, what to love, what to love
L'animal que l'on blesse de promesse indécentes
The animal that is hurt by indecent promises
A l'enfant que l'on berce de paroles suffisantes
To the child that is rocked to sleep with sufficient words
Les kermesses aux prouesses de manière déroutante
The fairs with their tricks in a confusing manner
N'a de cesse que la laisse qui étrangle l'amante
Only the leash that strangles the lover does not cease
L'animal que l'on blesse de promesse sans favour
The animal that is hurt by promises without favor
A l'enfant que l'on berce de mensonges sans pudeur
To the child that is rocked to sleep with shameless lies
Les kermesses, promesses, messes... une lueur
The fairs, promises, masses... a glimmer of hope
N'a de cesse que la laisse qui étrangle non cœur
Only the leash that strangles my heart does not cease
T'aimer!
To love you!
Contributed by Natalie I. Suggest a correction in the comments below.
Olivier Courapied
Incredible voice.
тристан робертсон
how i adore her! how to say? she's the anger itself! understand?