Between 1963 and 1964, Dutronc was the guitarist for a group called El Toro et les Cyclones who recorded several EPs. During this time he could frequently be seen on stage at the Golf Drouot as backing guitarist for stars like Eddy Mitchell. He then went and did his obligatory military service. After his return he landed a job as assistant at Vogue Records to Artistic Director Jacques Wolfsohn. In this capacity he arranged songs (there is no indication that he wrote the lyrics for any of these songs) for several lesser known artists like Zou Zou and CLeo. In 1966 (or maybe the end of 1965), he was teamed with writer Jacques Lanzmann, then director at Lui magazine, to create songs for artists who were arranged to be the next big thing. Benjamin was the first of these singers. But his first EP did horribly and he was unceremoniously booted from Vogue. One day after hearing the demos that Dutronc had made of a song, Wolfsohn declared that Jacques should do the record for release. "Et moi, et moi, et moi" was unleashed on the world in 1966 and overnight one of France's biggest stars was born.
With Lanzmann in charge of the lyrics and Dutronc taking care of the music, the two created some of the most lasting songs in French pop history. There is almost no French person alive who does not know "Et moi, et moi, et moi", "Les Playboys", and "Le cactus". Other great songs include "Mini, mini, mini", "Le responsable", "J'ai un tigre dans ma guitare", and "L'opportuniste". The music on most of these songs is a British garage sound and Dutronc has often been compared to Ray Davies of The Kinks, and that comparison works musically as well. What really set Dutronc apart from the other singers of the time was his parody. His songs are not celebrating the "youth generation" but mocking it. Dutronc's biggest hit was the beautiful "Il est cinq heures, Paris s'eveille", with the classical flute player Roger Bourdin (not as some had thought Jean-Pierre Rampal) performing an essential part. In this song, Dutronc manages to paint a remarkably correct picture of the French capital in the early morning hours in the late 1960's.
Dutronc's "La fille du père Noël" and David Bowie's "Jean Genie" share a riff likely derived from the Yardbirds' accelerated version of Bo Diddley's "I'm a Man." The Belgian singer Arno recorded a medley of the Dutronc and Bowie songs ("Jean Baltazaarr") with the American singer Beverly Jo Scott that makes clear their similarities.
In 1973, Dutronc began a second career as an actor in the film Antoine et Sébastien, directed by Jean-Marie Périer, a career that would afterward occupy the greater share of his attention. Directors for whom he has worked include Jean-Luc Godard, Claude Lelouch and Maurice Pialat. He has also returned to recording in recent years.
Also in 1973, "Et moi, et moi, et moi" was adapted with English lyrics by Ray Dorset, leader of Mungo Jerry. "Alright Alright Alright" became a UK No. 3 hit for the group.
Interestingly, the early Dutronc songs usually had a classic late-sixties freakbeat backing (provided by session musicians) that has managed to win Jacques Dutronc a new audience in the hip retro clubs of the UK and USA in the late 1990s, and this continues today. (Ironically, most of the people who will be dancing to the likes of "Le Cactus" will have no idea what the words actually mean). Because of this, he is celebrated in the 1997 Cornershop song "Brimful of Asha" thus: "Jacques Dutronc and the Bolan Boogie/The Heavy Hitters and the Chichi music."
He currently lives in the town of Monticello on the island of Corsica.
Voulez Vous
Jacques Dutronc Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Voulez-vous que je parte sans vous
Voulez-vous que je parte avec vous
Voulez-vous que je parte après vous
Voulez-vous que je reste avec nous
Voulez-vous que je reste avec vous
Voulez-vous ne rien avoir avec nous
Voulez-vous, la réponse est à vous
Voulez-vous que je vous laisse entre vous
Voulez-vous que je nous laisse entre nous
Voulez-vous que je reste avec vous
Voulez-vous que je que je reste pour nous
Voulez-vous que je vous mettre le matin
Voulez-vous que je vous laisse ce matin
Voulez-vous sans dessus dessous
Voulez-vous, la réponse est à vous
(Hey, stand in front of shadow light
Then I say I let you go
I love you like a reason to my...)
Voulez-vous que je danse avec moi
Voulez-vous que je pense sans vous
Voulez-vous que je compte pour vous
Voulez-vous, la réponse est à vous
Voulez-vous que je parte avant vous
Voulez-vous que je parte sans vous
Voulez-vous que je parte avec vous
Voulez-vous, la réponse est à vous
[quelques phrases ressemblant p la langue anglaise]
(Voulez-vous que je m'en aille avec vous
Voulez-vous que je m'en aille après vous)
[quelques phrases ressemblant p la langue anglaise]
(Voulez-vous que je m'en aille avant vous
Voulez-vous que je me laisse entre nous
Voulez-vous que je m'en aille après vous
Voulez-vous que je m'en aille avant vous
Avant vous
Après vous
Voulez-vous)
The lyrics to Jacques Dutronc's "Voulez Vous" are a series of questions, each one beginning with "voulez-vous," or "would you like." The questions are all variations on the theme of parting or staying together and the singer is asking for the listener's desire. The lyrics suggest a sense of ambivalence, as the singer seems to be at a crossroads in a relationship and unsure of what to do next.
The repetition of "voulez-vous" emphasizes the choice that is being presented to the listener, implying that the singer is willing to go along with whatever decision they make. The use of repetition also gives the lyrics a hypnotic quality, drawing the listener in and encouraging them to ponder the questions being asked. The line "voulez-vous ne rien avoir avec nous" ("would you like to have nothing to do with us") is particularly stark, suggesting that a complete break from the relationship is an option on the table.
Overall, the lyrics to "Voulez Vous" capture the fraught emotions of a relationship that may be coming to an end. The song's insistent repetition and the singer's willingness to let the listener make the final decision make for a powerful and memorable musical moment.
Line by Line Meaning
Voulez-vous que je parte avant vous
Do you want me to leave before you do?
Voulez-vous que je parte sans vous
Do you want me to leave without you?
Voulez-vous que je parte avec vous
Do you want me to leave with you?
Voulez-vous que je parte après vous
Do you want me to leave after you do?
Voulez-vous que je reste avec nous
Do you want me to stay with the group?
Voulez-vous que je reste avec vous
Do you want me to stay with you?
Voulez-vous ne rien avoir avec nous
Do you want to have nothing to do with us?
Voulez-vous, la réponse est à vous
Do you want to, the answer is up to you?
Voulez-vous que je vous laisse entre vous
Do you want me to leave you alone?
Voulez-vous que je nous laisse entre nous
Do you want me to let us be alone?
Voulez-vous que je reste pour nous
Do you want me to stay for us?
Voulez-vous que je vous mettre le matin
Do you want me to wake you up in the morning?
Voulez-vous que je vous laisse ce matin
Do you want me to leave you this morning?
Voulez-vous sans dessus dessous
Do you want it upside down?
Voulez-vous que je danse avec moi
Do you want me to dance alone?
Voulez-vous que je pense sans vous
Do you want me to think without you?
Voulez-vous que je compte pour vous
Do you want me to count for you?
Voulez-vous, la réponse est à vous
Do you want to, the answer is up to you?
(Hey, stand in front of shadow light
Then I say I let you go
I love you like a reason to my...)
Hey, standing in front of the shadow of love, I tell you I let you go, I love you like a reason to me
Voulez-vous que je m'en aille avec vous
Do you want me to leave with you?
Voulez-vous que je m'en aille après vous
Do you want me to leave after you do?
Voulez-vous que je m'en aille avant vous
Do you want me to leave before you do?
Voulez-vous que je me laisse entre nous
Do you want me to leave us be?
Voulez-vous, la réponse est à vous
Do you want to, the answer is up to you?
Avant vous
Before you
Après vous
After you
Voulez-vous
Do you want to?
Contributed by Charlie I. Suggest a correction in the comments below.