Pierpoljak, a French reggae star who has become known as … Read Full Bio ↴Pierpoljak
Pierpoljak, a French reggae star who has become known as the White Rasta, has not always espoused Rastafarism. Far from it, in fact. The singer has followed a fairly tortuous path to fame, with many ups and downs in his personal life, before achieving his current success.
Born in Paris on 7 September 1964, Pierpoljak (whose real name is Pierre) grew up in Colombes in the Paris suburbs. Pierre was a difficult adolescent who got into all sorts of trouble and in the mid-70s he got involved in the punk/skinhead movement. It was around the same time that he took his first steps as a musician, playing bass with a local band called Samu 92. Pierre’s passion for punk eventually led to him moving to London in 1981 where he threw himself into the violent, aggressive sound of the "No future" movement. Living in a squat in Stockwell, in south-west London, Pierre gradually came to discover reggae through his Jamaican-born neighbours, listening to the likes of Desmond Dekker and Toots and the Maytals. This proved to be a big musical revelation for him.
Pierre eventually returned to France and got into trouble with the authorities, ending up serving time in Fleury-Mérogis prison. When he got out of jail, the young adventurer decided to take to the high seas, travelling round the Caribbean. Pierre signed up as a member of the crew of a cargo ship and spent the next few years sailing round the French West Indies and the Dominican Republic (an island he grew particularly fond of).
On his return to France, Pierre took up his old musical activities once again and began to make a name for himself on the Paris underground scene, performing under the pseudonym Brada Peter, then Peter Pan. He managed to get two of his earliest tracks onto the 1994 compilation "Earthquake", an album which also featured up-and-coming reggae stars such as Saï Saï and Tonton David.
Success story
By 1991, Pierre - who, by that point, had changed his stage name to Pierpoljak - was living in the countryside with a wife and child to support. He had started writing and composing his own material in his home studio and his songs soon came to the attention of a major label, Barclay, who offered him a recording contract in 1995.
1996 saw the release of Pierpoljak’s debut album, entirely recorded in the comfort of his own home. One of the songs on it, "La Music", ended up remixed by legendary reggae producer Clive Hunt and this boosted the success of Pierpoljak’s album, giving it a second lease of life. A few months later, a new version of the album was released as "En Jamaïca", featuring a number of Jamaican DJs toasting on several tracks including "Annie" and "Touriste à Babylone." Meanwhile, Pierpoljak threw a great deal of time and energy into the live circuit, performing a hectic round of concerts and appearing at the famous Transmusicales festival in Rennes in 1997.
After the experience he had acquired in the studio and on the live circuit, Pierpoljak decided the time had come to fulfill one of his oldest dreams and he flew out to record a new album in Jamaica with Clive Hunt. Working in the legendary Tuff Gong studios in Kingston Town, the French reggaeman teamed up with some of the hottest names on the local music scene including drummer Leroy "Horsemouth" Wallace and guitarist Earl "China" Smith.
Pierpoljak’s second album, "Kingston Karma", released in June 1998, featured fourteen tracks with superbly-crafted lyrics. It also included an extraordinary reworking of John Lennon’s "Instant Karma", characterised by Pierpoljak’s signature vocal drawl. The first single release from the album, the catchy "Je sais pas jouer", set the tone for what was to come, proving that French reggae could finally branch out onto the musical mainstream and follow rap to the top of the charts
Pierpoljak set off on an extensive national tour in 1998, taking his infectious reggae sound up and down the country. He put in a number of appearances at major French music festivals during the tour and appeared at the Printemps de Bourges in April 1999.
After his own personal breakthrough on the French music scene, Pierpoljak embarked upon a collective project in 2000, aimed at demonstrating that Gallic reggae had now emerged in a league of its own. With a helping hand from Jamaican drummer Leroy "Horsemouth" Wallace, Pierpoljak got a number of young up-and-coming reggae stars such as Flamengo, Asher, Dynamik and Mathieu Ruben together with a bunch of reggae veterans including Daddy Yod, Supa John, Daddy Mory (a former member of Raggasonic) and Pablo Master. And the whole crew went into the studio together to record "+2coeur=soleil", a personal homage to Pierpoljak’s favourite sound.
Pierpoljak returned to the studio almost immediately afterwards on his own account to begin work on his next solo album, "Je fais c’que j’veux." Once again, he headed out to Kingston, Jamaica, to work with his old friend, Clive Hunt. But he took a very different approach from his first album, arriving in Jamaica with his songs already written this time. Musically speaking, Pierpoljak’s second album was a pure reggae affair, but in terms of the lyrics "Je fais c’que j’veux" drew heavily on the singer’s own personal experiences with a number of openly autobiographical songs such as "Né dans les rues de Paris" (Born on the streets of Paris) and the first single release, "Dépareillé" (The odd one out).
This second album proved to be a huge hit, earning Pierpoljak a double gold disc in sales. But, unfortunately, the singer fell ill while he was out on the road promoting "Je fais c’que j’veux" and underwent a prolonged stay in hospital. At this point, Pierpoljak began seriously questioning whether he had any kind of future in the music business at all. Beset by doubts, he decided to take to the seas once again, setting sail from the Martinican capital Fort-de-France and stopping off at the Canaries and Cape Verde along the way. It was while enjoying another brief stop in Grenada (the Windward Islands) that Pierpoljak happened to hear a burst of local ragga playing on someone’s radio. The experience rekindled his musical spark and, after not picking up his guitar once in four months, the White Rasta was suddenly motivated to start singing and playing again.
Back in Paris, Pierpoljak surrounded himself with positive vibes and threw himself back into songwriting with a vengeance. This proved to be a highly productive period for the singer. Finally, at the beginning of 2003, Pierpoljak headed out to the Tuff Gong studios once again to begin work on a new album.
Resolutely roots
September 2003 saw the release of Pierpoljak’s fourth album, "Stim Turban." This was intended to be a resolutely authentic ‘roots’ affair with no added effects or embellishments. This time round, Pierpoljak did not work with producer Clive Hunt, but took care of everything himself (from the songwriting and the arrangements to the final mix). In the making of this fourth album, the French reggaeman worked with the ‘crème de la crème’ of Jamaican musicians, forming a band called Stim Turban - after whom this fourth album was named. Following the release of the album, "Général PK" embarked upon an intensive series of concerts and performed at a number of major French and international music festivals.
After a trip to Tahiti, Pierpoljak was invited to perform at the Reggae Donn Sa festival in Mauritius in August 2005. He returned to the Indian Ocean region in November of that year for a concert in La Réunion.
In January 2006, Pierpoljak took part in a special ‘Francophone reggae’ night organised at the Elysée-Montmartre, in Paris. On this occasion Pierpoljak shared the stage with the likes of Tonton David and the Ivorian reggae star Tiken Jah Fakoly. And he teamed up with the latter for a live version of "Si Si", a duet which featured on his album "Je blesserai personne" released in March 2006.
Working with an artistic director for the first time in his career (despite the fact that he had publicly ridiculed the profession of artistic director on his hit "J'sais pas jouer"), Pierpoljak recorded a number of new songs for his new album in France with French musicians. Then he headed off to Jamaica, where he hooked up with producer Clive Hunt once again and worked in a recording studio owned by Shaggy. Pierpoljak’s new album, "Je blesserai personne", was much more musically diverse than his previous work and less obviously formatted Kingston reggae-style. In fact, "Je blesserai personne" seemed to mark a major turning-point in the French reggae singer’s career, its release coinciding with him cutting off his dreadlocks and breaking away from his Jamaican look.
Another Pierpoljak album, entitled "Chéper", was released later that same year and sold exclusively at the singer’s concerts and via his website. Meanwhile, Pierpoljak appeared on the reggae compilation "Il est cinq heures, Kingston s'éveille" (performing his own reggae-fied version of "J'ai encore rêvé d'elle" by the group Il était une fois). He also recorded a duet with the Japanese artist Tomuya which featured on Tomuya’s album "Un Japonais à Paris" (released in March 2007).
July 2007 saw the release of "Tuff Gong Blues", an album distributed in Germany but not in France. In fact, the album was released in Germany not under Pierpoljak’s name, but under the pseudonym Pekah. The songs on the album (almost all of them in English) had been recorded around the time of "Je fais c'que j'veux" and were produced by Clive Hunt. The majority of them were written by Doniki (a singer who appeared on Pierpoljak’s first Jamaican album in 1997). "Tuff Gong Blues" featured seven duets with Jamaican artists such as Horace Andy and Anthony B as well as an interesting reworking of Dennis Brown’s reggae classic "Money In My Pocket." Coinciding with the release of "Tuff Gong Blues" in Germany, Pierpoljak performed a concert in Berlin at the end of July
Police
Pierpoljak Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tu ne l'aimeras pas je le sais déjà
Police tu t'es mal conduit
Tu m'as brisé quand j'étais petit
Tu m'as battu tu m'as enfermé aussi
Pour me dresser à ce que tu disais
Police t'as fait de moi ton ennemi
C'est dans tes cages que j'ai appris à t'aimer
On ne me fournit pas l'excuse
Comme quoi tu viens de province
Que tu n'avais pas de boulot
Qu'il faut bien gagner son pain
Pour être flic il faut aimer ça
Ta maison c'est le fourgon et le commissariat
Fait attention au jeune chien enragé
Qui ne sait pas que tu as peur de mourir
Que tu n'es pas prêt
Maintenant que tu portes l'uniforme dans la rue
T'es payé pour die
J'espère que tes supérieurs ton mis au jus
Pour être flic il faut aimer ça
Ta maison c'est le fourgon et le commissariat
Police tu vois je t'aime pas j'peux rien y faire
Même en me forçant j'peux pas sourire
Police au nom de tous les petits voleurs
Que tu as tué en rigolant
Oh maman les larmes ne sèchent jamais
Pour les refrès Dieu seul le sait
Police on se retrouvera dans le ciel
Y aure Farid y aura Djamel imagine la fanfare
Police t'es un fascite t'es un raciste
Dans tes rangers tu nous méprises
Oh maman les larmes ne sèchent jamais
Pour les refrès Dieu seul le sait
On t'a bien monté la tête tout est là sous la casquette
Les rebeus et les renois sont les premiers
Que tu suspectes
Pour être flic il faut aimer ça
Ta maison c'est le fourgon et le commissariat
Regarde moi bien contre moi tu ne peux rien c'est vrai que mon dossier est chargé
C'est pourquoi je connais mon sujet
Si tu te mets sur mon dos j'y laisserais sûrement ma peau
Si tu te mets sur mon dos j'y laisserais sûrement ma peau
Mais je t'arracherai quelques plumes
J'te casserais quelques os
The song "Police" by Pierpoljak is a poignant reflection on the relationship between the artist and law enforcement. Pierpoljak, who grew up in difficult circumstances, holds the police accountable for the pain and suffering he experienced as a child. Through the lyrics, he condemns the police for their violent and abusive behavior towards him, both physically and psychologically. He accuses the police of turning him into their enemy and treating him like an animal, forcing him to follow their rules and commands.
Pierpoljak also addresses the issue of social inequality and prejudice within law enforcement, highlighting the fact that the police often target minorities and people from lower socio-economic backgrounds. He speaks of the oppression and racism he experienced at the hands of the police and calls them fascists and racists. Through the lyrics, he expresses his bitterness towards the police and his inability to forgive them despite the passage of time.
Overall, "Police" is a powerful statement on the impact of police brutality and oppression on individuals and communities. Pierpoljak's lyrics showcase his emotional depth and insight into the systemic issues that continue to plague society to this day.
Line by Line Meaning
Police elle est pour toi cette chanson
This song is dedicated to the police
Tu ne l'aimeras pas je le sais déjà
I know you won't like it
Police tu t'es mal conduit
Police, you've misbehaved
Tu m'as brisé quand j'étais petit
You broke me when I was young
Tu m'as battu tu m'as enfermé aussi
You beat me and locked me up too
Pour me dresser à ce que tu disais
To make me conform to your ways
Police t'as fait de moi ton ennemi
Police, you've made me your enemy
C'est dans tes cages que j'ai appris à t'aimer
It's in your jails that I learned to love you
Police dans ton burlingue ça sent la pisse ça sent le vice
In your lockup, it smells like urine and vice
On ne me fournit pas l'excuse
Comme quoi tu viens de province
I won't give you the excuse that you're from the provinces
Que tu n'avais pas de boulot
Qu'il faut bien gagner son pain
That you didn't have a job and needed to make a living
Pour être flic il faut aimer ça
To be a cop, you have to enjoy it
Ta maison c'est le fourgon et le commissariat
Your home is the van and the police station
Fait attention au jeune chien enragé
Qui ne sait pas que tu as peur de mourir
Que tu n'es pas prêt
Be careful of the young, angry dog who doesn't know that you're afraid to die and not ready
Maintenant que tu portes l'uniforme dans la rue
T'es payé pour die
Now that you wear the uniform on the street, you're paid to die
J'espère que tes supérieurs ton mis au jus
I hope your superiors have informed you
Police tu vois je t'aime pas j'peux rien y faire
Police, you see, I don't like you and I can't help it
Même en me forçant j'peux pas sourire
Even if I try, I can't smile
Police au nom de tous les petits voleurs
Que tu as tué en rigolant
Police, on behalf of all the petty thieves you've killed while laughing
Oh maman les larmes ne sèchent jamais
Pour les refrès Dieu seul le sait
Oh mother, tears never dry, only God knows for the dead
Police on se retrouvera dans le ciel
Y aure Farid y aura Djamel imagine la fanfare
Police, we'll meet again in heaven, where Farid and Djamel will be and imagine the parade
Police t'es un fascite t'es un raciste
Dans tes rangers tu nous méprises
Police, you're a fascist, you're a racist and you despise us in your boots
On t'a bien monté la tête tout est là sous la casquette
Les rebeus et les renois sont les premiers
Que tu suspectes
They've really filled your head, everything is under the cap, the Arabs and Blacks are the first that you suspect
Regarde moi bien contre moi tu ne peux rien c'est vrai que mon dossier est chargé
Look at me well, there's nothing you can do against me because my record is loaded
C'est pourquoi je connais mon sujet
That's why I know my subject
Si tu te mets sur mon dos j'y laisserais sûrement ma peau
If you get on my back, I'll probably lose my life
Mais je t'arracherai quelques plumes
J'te casserais quelques os
But I'll pull out some of your feathers and break some of your bones
Contributed by Asher O. Suggest a correction in the comments below.
@Silkos
Elle est pour toi, cette chanson
Tu n'l'aimeras pas, j'le sais déjà
Police
Tu t'es mal conduis, tu m'as brisé, quand j'étais petit
Tu m'as battu, tu m'as enfermé aussi
Pour me dresser, à c'que tu disais
Police
T'as fais de moi ton ennemi
C'est dans tes cages, que j'ai appris à t'aimer
Police
Dans ton burlingue, ça sent la pisse, ça sent le vice
Oh ne me fournis pas l'excuse
Comme quoi tu viens de province
Que tu n'avais pas d'boulot
Qu'il faut bien gagner son pain
Pour être flic, il faut aimer ça
Ta maison c'est le fourgon et le commissariat
Fais attention au jeune chien enragé
Il ne sait pas que tu as peur de mourir
Que tu n'es pas prêt
Maintenant que tu portes, l'uniforme dans la rue
T'es payé pour die, j'espère que tes supérieurs t'ont mis au jus
Pour être flic, il faut aimer ça
Ta maison c'est le fourgon et le commissariat
Police
Tu vois, j't'aime pas, j'peux rien y faire
Même en m'forcant, j'peux pas sourire
Police
Au nom de tous, les petits voleurs
Que tu as tués en rigolant
Pour maman
Les larmes ne sèchent jamais
Pour les re-frés, Dieu seul le sait
Police
On se retrouvera dans le ciel
Y aura Farid, y aura Jamel, imagine la fanfare
Police
T'es un fasciste, t'es un raciste
Dans tes rangers, tu nous méprises
Pour maman
Les larmes ne sèchent jamais
Pour les re-frés, Dieu seul le sait
On t'a bien monté la tête, tout est là sous la casquette
Le rebeus et les re-nois sont les premiers qu'tu suspectes
Pour être flic, il faut aimer ça
Ta maison c'est le fourgon et le commissariat
Regarde-moi bien, contre moi tu ne peux rien
C'est vrai que mon dossier est chargé
C'est pourquoi je connais mon sujet
Si tu te mets sur mon dos
J'y laisserai sûrement ma peau
Mais je te casserais quelques os
Et je t'arracherai quelques plumes
Source : Musixmatch
@loving_2B_a_life_designer
Babylon
Police
Elle est pour toi, cette chanson
Tu n'l'aimeras pas, j'le sais déjà
Police
Tu t'es mal conduit, tu m'as brisé quand j'étais petit
Tu m'as battu, tu m'as enfermé aussi
Pour me dresser à c'que tu disais
Police
T'as fais de moi ton ennemi
C'est dans tes cages que j'ai appris à t'aimer
Police
Dans ton burlingue, ça sent la pisse, ça sent le vice
Oh ne me fournis pas l'excuse
Comme quoi tu viens de province
Que tu n'avais pas d'boulot
Qu'il faut bien gagner son pain
Pour être flic, il faut aimer ça
Ta maison c'est le fourgon et le commissariat
Fais attention au jeune chien enragé
Il ne sait pas que tu as peur de mourir
Que tu n'es pas prêt
Maintenant que tu portes, l'uniforme dans la rue
T'es payé pour die, j'espère que tes supérieurs t'ont mis au jus
Pour être flic, il faut aimer ça
Ta maison c'est le fourgon et le commissariat
Police
Tu vois, j't'aime pas, j'peux rien y faire
Même en m'forcant, j'peux pas sourire
Police
Au nom de tous les petits voleurs
Que tu as tués en rigolant
Pour maman
Les larmes ne sèchent jamais
Pour les re-frés, Dieu seul le sait
Police
On se retrouvera dans le ciel
Y aura Farid, y aura Jamel, imagine la fanfare
Police
T'es un fasciste, t'es un raciste
Dans tes rangers, tu nous méprises
Pour maman
Les larmes ne sèchent jamais
Pour les re-frés, Dieu seul le sait
On t'a bien monté la tête, tout est là sous la casquette
Le rebeus et les re-nois sont les premiers qu'tu suspectes
Pour être flic, il faut aimer ça
Ta maison c'est le fourgon et le commissariat
Regarde-moi bien, contre moi tu ne peux rien
C'est vrai que mon dossier est chargé
C'est pourquoi je connais mon sujet
Si tu te mets sur mon dos
J'y laisserai sûrement ma peau
Mais je te casserais quelques os
Et je t'arracherai quelques plumes
@jrmzzz2299
Toujours là en 2022, je me rappel un concert à lui au Zénith d'Orléans en 1999, j'avais 14 ans .Des purs Souvenirs
@francoislaurent2673
L'album entier est une pépite
@guillaumelelievre8881
Entièrement d'accord avec vous, pour moi c'est son meilleur album.
@gaelbams7020
One off the best french reggae roots songkingston karma is for me one off the best roots reggae song for nown
@francinedubois41
Tellement d'actualité en ce moment 😢😢😢
@naouak7304
que de souvenir cette album, je zonai en Martinique près de la rampe de skate de sainte luce avec du pierpoljak toute la journée en fumant des gros charasse de ganja !
@sebseb2145
1er Mars 2020 et tjr la même.....
@hermanoguitaro2616
Serieux? La police existe tjr?
@cedmg592
Pire en 2021
@substitutiondidentite3353
Encore d'actualité !! Ça fend le cœur je n'en peu plus de cette milice !