Born in a Parisian suburb in a wealthy family, he had a happy childhood. His father owned a small business. In high school, influenced by the great chansonniers of his time Luis Mariano, Charles Aznavour and Gilbert Bécaud, he formed with classmates a band.
Studying at the Petit Conservatoire de Mireille, where Yves Duteil and Françoise Hardy had been discovered, he made his first single, Anatole in 1963. He meets Roland Vincent who becomes his regular composer. Michels first hit Chez Laurette the following year is from the musical he plays in 'Copains-Clopant' . In 1966 appears his album Inventaire 66, while he is opening act for Leny Escudero. As Jacques Brel, in 1967, provides a series of farewell performances in the Parisian music theater Olympia, Delpech is the support act. Johnny Stark, the impresario of Mireille Mathieu, decides to accompany him. Michel is touring as a supporting act along with Mireille, to the US and the USSR.
In 1968 he won the French Grand Prix du Disque with "Il ya des jours où on ferait mieux de rester au lit".
In 1969 he composed the song hippie Wight is Wight in French about the British Isle of Wight Festival that summer. It became a huge hit in France, Sandie Shaw covered it the following year. In 1970 he regrets the break-up of The Beatles in the song Et Paul chantait Yesterday, brings the album Un coup de pied dans la montagne and he breaks up with Johnny Stark.
In 1971 Delpech scored a European hit with Pour un flirt; even in Britain it reached the charts. Further chansons by him were Que Marianne était jolie (1972) and Les divorcés (1974), Le Chasseur (1974) and Le Loir-et-Cher (1977).
The following years Delpech devoted primarily to composing and writing lyrics. He had a comeback in 1983 with the single Animaux, animaux and his successful album Loin d'ici in 1985, followed in 1989 by J'étais un ange. In 1992 with Roland Vincent he made the album Les Voix du Brésil. Delpech then took a five year sabbatical.
From 1997 Delpech was particularly productive. J'étais un ange is the title of an album in 2000 that heralds a tour with musician friends such as Alain Chamfort, Charlélie Couture, Claude Nougaro, Marc Lavoine and Pierre Richard providing inspiration for the album Comme vous (2004) and Live -album Ce lundi-là au Bataclan (2004).
In 2006 he even released an album consisting of five CDs Delpech inventaires followed by Michel Delpech & ... Delpech with repertoire old and new and of musical contemporaries like Bénabar, Francis Cabrel, Alain Souchon, Cali, Laurent Voulzy, Julien Clerc and Clarika. In 2008 appeared a live DVD, Live au Grand Rex, which is widely acclaimed as an excellent live recording.
Delpech fought three years against throat cancer. On January 2, 2016 Delpech died in Paris
La mort de l'âne
Michel Delpech Lyrics
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Dans une charrette à foin
On a creusé un grand trou
Au fond du jardin
En piochant religieusement
Mais quand on l'a mis dedans
On n'aurait jamais cru
Sa tête dépassait encore
Alors il a fallu
S'y remettre une heure durant
On a du faire encore un effort
On a planté un chardon
Et notre père a dit
Rentrez vite à la maison
Vous lavez les mains
Et à la soupe
The lyrics of Michel Delpech's song "La mort de l'âne" describe the somber and poignant scene of burying a donkey in the backyard. The first paragraph sets the scene by describing how the donkey was taken in a hay cart and a large hole was dug in the garden. The act of digging the hole is described with reverence, implying a sense of duty or ritual in preparing the final resting place for the donkey. However, the stark contrast comes when the donkey is placed in the hole, and the realization hits that the donkey was larger than they had anticipated, with its head still protruding from the hole. This unexpected discovery disrupts the solemnity of the moment and calls for additional effort to properly bury the donkey.
In the second paragraph, the struggle to fully bury the donkey is depicted as those involved in the process have to laboriously continue their efforts for an additional hour. This physical exertion emphasizes the challenges faced in ensuring that the donkey is laid to rest properly, despite the initial miscalculation of its size. The lyrics convey a sense of perseverance and determination in carrying out this final act of respect for the deceased animal.
The third paragraph introduces a poignant detail where a thistle is planted at the site of the donkey's burial. This act of planting a thistle, a symbol of defiance and strength in the face of adversity, adds depth to the emotional tone of the song. Additionally, the directive from their father to return home quickly to wash their hands and have soup contributes to the sense of routine and normalcy that follows such a solemn event. The juxtaposition of the mundane with the profound underscores the complexity of human emotions and the delicate balance between everyday life and moments of grief.
In the final paragraph, the lyrics suggest a sense of closure as the burial of the donkey is completed and the family is instructed to tend to their hygiene and daily meal. This transition from the solemn act of burial to the mundane tasks of everyday life reflects the inevitability of moving forward after experiencing loss. The song captures the mix of emotions that accompany the death of a beloved animal, from reverence and determination to acceptance and the eventual return to the routines of daily life. By exploring the nuances of this experience, Michel Delpech's "La mort de l'âne" offers a poignant reflection on the fragility of life and the resilience of the human spirit in the face of loss.
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