During the Second World War, Jacqueline’s father was mobilised, spending five years away from the family. During this time, Jacqueline was brought up by her mother, grandmother and great-grandmother. Her grandmother had a cafe in Armentières, where she used to sing for the passing soldiers.
She auditioned at Conservatoire de Lille, singing songs written by Loulou Gasté “Sainte-Madeleine” and “Mon âme au diable”. Louis Gasté was at that time a well known French composer. At the end of the audition, she was approached by then director of the Radio Lille who was looking for a singer. She took pseudonym Jacqueline Ray and joined the station singing a repertoire based on the songs by Loulou Gasté. In 1945, she moved to Paris and got her first gig in Folies Belleville, where she was introduced to Gasté. She was 16, Gasté was 37. He become her mentor, changing her image and her name.
Line Renaud made her national debut on Radio Luxembourg, singing on a Sunday morning program. After signing a contract with Pathe Marconi, she recorded “Ma Cabane au Canada”, written by Loulou Gasté, which won le Grand Prix du Disque. She also sang with Yves Montand au Theatre de l’Etoile. She did a big tour of Europe and Africa, came back to Paris to star at the ABC and recorded numerous adaptations of the American songs such as "Ma petite folie", "Etoile des neiges" and "Le chien dans la vitrine".
In 1954, whilst performing at Moulin Rouge she met Bob Hope and consequently appeared in 5 episodes of The Bob Hope Show in the US. During this trip, she also sang in Waldorf Astoria (New York) and Cocoanut Grove (Los Angeles), appeared on Johnny Carson, Dinah Shore and Ed Sullivan shows and recorded with Dean Martin the song ‘Relax ay voo’.
In 1959, she started a four year run of ‘Plaisir de Paris’ for Henri Varna and then went on to perform in a Las Vegas show at Dunes from 1963 to 1965. In 1968, she returned to Las Vegas for a number of performances. In France, in 1973 she created an American show which she toured for two years around the country. She then helped Casino de Paris, threatened by closing, by putting on a show called ‘Paris – Line’ with Loulou Gasté, which ran for four years.
In 1980’s, she starred in a TV show ‘Telle est Line’ for Antenne 2 and recorded songs in English and French. At Casino de Paris, she put on a one off show which retraced her forty year career. In 1989, she toured around Japan as part of a festival which marked the bicentennial of French Revolution.
Pour Toi
Line Renaud Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tes yeux brillent comme le feu, ta bouche en a pris la couleur, ton corp ena gardé la chaleur;
Tes doigts courant sur ma peau nue, oh ta voix mourant dans un soupir et moi frissonnante de désir, Pour Toi qui tiens ma vie dans tes mains dans tes mains, oh toi le maître de demain je ne vie que Pour Toi.
Tes doigts courant sur ma peau nue, oh ta voix mourant dans un soupir et moi frissonnante de désir.
Pour Toi
"Pour toi" is a romantic song by Line Renaud that expresses the intense love and passion the singer has for her lover. In the first verse, the singer reveals that she has left behind those she loves and lost those who loved her, just to be with the person she is singing to. She feels that without her lover, life is meaningless and everything is dark. She implores her lover to listen to her because, in this moment, he/she is the only person that matters to her.
In the second verse, Line Renaud describes the physical and emotional sensations she feels when she is with her lover. She compares her lover's eyes to fire, and his/her lips to a vibrant color, indicating the intensity of the passion and love between them. She reveals that her body is warm because of her lover's touch and that she shivers with desire at the sound of his/her voice. She declares that her life is now in her lover's hands, and she lives only for him/her.
Overall, "Pour toi" is a declaration of undying love, devotion, and passion. Line Renaud sings about the lengths she has gone to be with her lover, the intense physical and emotional sensations she feels with her lover, and how her life revolves around her lover. The song is a testament to the power of love and how it can transform one's life completely.
Line by Line Meaning
Pour Toi j'ai quitté ceux que j'aimais, j'ai perdu ceux qui m'aimaient ce soir je n'ai que toi, sans toi le jour ressemble à la nuit la vie ressemble à mort ce soir écoute-moi.
I left the ones I loved and lost the people who loved me just for you. Without you, my days are dark and my life is like death. Please listen to me tonight.
Tes yeux brillent comme le feu, ta bouche en a pris la couleur, ton corp ena gardé la chaleur;
Your eyes shine like fire, your mouth takes on a fiery color, and your body retains warmth;
Tes doigts courant sur ma peau nue, oh ta voix mourant dans un soupir et moi frissonnante de désir, Pour Toi qui tiens ma vie dans tes mains dans tes mains, oh toi le maître de demain je ne vie que Pour Toi.
Your fingers running over my bare skin, your voice trailing off in a sigh, and me shivering with desire. For you, who hold my life in your hands, my master of tomorrow, I live only for you.
Pour Toi
For you
Writer(s): Albert Simonin, Loulou Gaste, Alberto Kaiserman Mauricio, Marie-H.?L.?Ne Bourquin
Contributed by Claire T. Suggest a correction in the comments below.
Almir Sani Moreira
Lamento contrariar quem pensa o contrário, mas para caracterizar plágio não precisa copiar a música inteira, bastam o mínimo de oito compassos, no mesmo andamento, e o início da música tem muito mais que isso (pelo menos uns quinze).
Harmonicamente são trechos idênticos. Após os trechos discutidos as diferenças são claras, são duas melodias distintas, mas para a decisão judicial o que o francês pleiteou era caso de conhecimento e provimento.
Se foi intencional ou não é outra história.
Mas a decisão do Juiz foi correta, no que diz respeito à parte "copiada".
Não sendo intencional, e provando-se que não foi, o que é bem complicado, pode-se discutir a indenização.
O francês, que segundo consta não era lá uma celebridade em seu país, saiu com uma bolada, U$ 500,00. Na época uma mas o fortuna.
Mas o Morris Albert não ficou pobre por causa disso, ao contrário, compôs mais músicas, e continuou fazendo sucesso.
Para encerrar, houve um caso em que um brasileiro saiu ganhando; o Rod Stewart gravou "D'ya think I'm sexy", e o refrão era cópia de "Taj Mahal", do Jorge Benjor.
Houve um outro caso de Inglês contra Inglês, envolvendo Roger Waters, do PInk Floyd e Andrew Lloyd Weber, devido a trechos idênticos das música "Echoes" (originalmente "The return of the Sun of nothing"), do álbum AtomHeart mother, e "The Phantom of the Opera".
ANTHONY OLIVER
QUEM CHEGOU AQUI PRA OUVIR E DECIDIR SE "FEELINGS" FOI PLÁGIO MESMO? rsss
ANTHONY OLIVER
@Marcelo Ferreira Kkkkk. Não conhecia essa versão!
Marcelo Ferreira
youtube.com/watch?v=Gp3vJ-ln40s&feature=share - Versao do Brasileiro domina, foda-se
Sérgio Bahia
Bastante diferente
Luis David
Se foi plágio, não sei. Mas, Feelings é muito melhor e fez muito mais sucesso.
B Arruda
@Josiel de Assis 🤣🤣🤣 Comentário nota 1000
Yester Day
N'empêche la version de Morris Albert. même s'il y'a plagiat, est bien meilleur et est devenue un tube international..... Sinon elle serait restée dans l'oubli
José Carlos
Perfect
MATHEUS MASTERGAST
A grande verdade é a seguinte: Se não fosse Morris Albert e a letra que ele fez, essa música jamais teria ficado conhecida e milhares de dólares não teriam ido para a conta bancária do francês e seus sucessores!
Paul Guitar
Pois é, porém hoje, o cuzão francês está no cemitério sem poder gastar 1 centavo sequer do que faturou as custas do ditatorial Supremo Tribunal do Estado.