Pierpoljak
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
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
Voilà Le Soleil
Pierpoljak Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Haut dans le ciel allez chauffe
Haute dans le ciel
Le voilà le voilà le voilà le voilà
Le soleil
Qui ne sent pas ne kiff n'aime pas sa chaleur
Le voilà le voilà le voilà le voilà
Le soleil
Qui ne veut pas ne peut pas se déshabiller
Voilà le soleil il fait monter la pression
Ce matin il a inondé ma maison
Par toutes les portes et toutes les fenêtres
Il diffuse une sensation de bien-être
Le voilà le voilà le voilà le voilà
Le soleil Qui n'aime pas ne sent pas ne kiff sa chaleur
Le voilà le voilà le voilà le voilà Le soleil
Qui ne veut pas ne peut pas se déshabiller
Ce n'est pas très engagé comme chanson
Mais que veux-tu ce sont mes vibrations
Les paroles sont dictées par le Roi des Rois
C'est très compliqué mais ça ne se voit pas
Le voilà le voilà le voilà le voilà
Le soleil
Qui n'aime pas ne sent pas ne kiff sa chaleur
Le voilà le voilà le voilà le voilà
Le soleil
Qui ne veut pas ne peut pas se déshabiller
Haut dans le ciel
Le voilà le voilà le voilà le voilà
Le soleil
Qui n'aime pas ne sent pas ne kiff sa chaleur
Le voilà le voilà le voilà le voilà Le soleil
Qui ne veut pas ne peut pas se déshabiller
Pendant tout l'hiver on en a bavé
On se cachait en attendant l'été
Derrière les murs et toutes les fenêtres
On en avait vraiment par dessus la tête
Le voilà le voilà le voilà le voilà
Le soleil
Qui n'aime pas ne sent pas ne kiff sa chaleur
Le voilà le voilà le voilà le voilà
Le soleil
Qui ne veut pas ne peut pas se déshabiller
Tu vois le soleil ne différencie pas
Il brunit toutes les peaux et c'est comme ça
Il nous rapproche de la même couleur
Tiens devine qui est le chanteur
Haute dans le ciel
Le voilà le voilà le voilà le voilà
Le soleil
Qui ne sent pas ne kiff n'aime pas sa chaleur
Le voilà le voilà le voilà le voilà
Le soleil
Qui ne veut pas ne peut pas se déshabiller
Ce matin il a inondé ma maison
Par toutes les portes et toutes les fenêtres
Il diffuse une sensation de bien-être
Le voilà le voilà le voilà le voilà
Le soleil Qui n'aime pas ne sent pas ne kiff sa chaleur
Le voilà le voilà le voilà le voilà Le soleil
Qui ne veut pas ne peut pas se déshabiller
Ce n'est pas très engagé comme chanson
Mais que veux-tu ce sont mes vibrations
Les paroles sont dictées par le Roi des Rois
C'est très compliqué mais ça ne se voit pas
Le voilà le voilà le voilà le voilà
Le soleil
Qui n'aime pas ne sent pas ne kiff sa chaleur
Le voilà le voilà le voilà le voilà
Le soleil
Qui ne veut pas ne peut pas se déshabiller
Haut dans le ciel
Le voilà le voilà le voilà le voilà
Le soleil
Qui n'aime pas ne sent pas ne kiff sa chaleur
Le voilà le voilà le voilà le voilà Le soleil
Qui ne veut pas ne peut pas se déshabiller
Pendant tout l'hiver on en a bavé
On se cachait en attendant l'été
Derrière les murs et toutes les fenêtres
On en avait vraiment par dessus la tête
Le voilà le voilà le voilà le voilà
Le soleil
Qui n'aime pas ne sent pas ne kiff sa chaleur
Le voilà le voilà le voilà le voilà
Le soleil
Qui ne veut pas ne peut pas se déshabiller
Tu vois le soleil ne différencie pas
Il brunit toutes les peaux et c'est comme ça
Il nous rapproche de la même couleur
Tiens devine qui est le chanteur
The lyrics of Pierpoljak's song Voilà le soleil celebrate the arrival of the sun and its warmth. The singer emphasizes that anyone who does not appreciate the sun's heat simply does not feel it, and those who do not want to enjoy it cannot undress themselves. The sun is presented as a force that can flood the singer's house and fill him with a sense of well-being. The song acknowledges that the lyrics are not very committed, but they reflect the artist's vibrations which are inspired by the "King of Kings." The repetition of "Le voilà le voilà le voilà le voilà" emphasizes the arrival of the long-awaited sun and its power.
The song celebrates the natural energy of the sun and how it unites people with its warmth and universal color regardless of their origin. The singer believes that the sun does not differentiate between skin colors and thus brings people closer together. The lyrics are infused with a sense of urgency, as the singer reminds the listener that they suffered during the winter while waiting for the return of the sun. In a way, the song is a tribute to the power of nature and how it influences us both physically and emotionally.
Line by Line Meaning
Haut dans le ciel allez chauffe
Come on, heat up high in the sky
Haute dans le ciel
High up in the sky
Le voilà le voilà le voilà le voilà
Le soleil
Here it is, here it is, here it is, the sun
Qui ne sent pas ne kiff n'aime pas sa chaleur
Le voilà le voilà le voilà le voilà
Le soleil
If you can't feel it or enjoy its heat, then you don't love the sun
Here it is, here it is, here it is, the sun
Qui ne veut pas ne peut pas se déshabiller
The sun can't undress if it doesn't want to
Voilà le soleil il fait monter la pression
Ce matin il a inondé ma maison
Par toutes les portes et toutes les fenêtres
Il diffuse une sensation de bien-être
Here comes the sun, it raises the pressure
This morning it flooded my house
Through all the doors and windows
It spreads a feeling of well-being
Ce n'est pas très engagé comme chanson
Mais que veux-tu ce sont mes vibrations
Les paroles sont dictées par le Roi des Rois
C'est très compliqué mais ça ne se voit pas
This isn't a very committed song
But what can I do, it's my vibes
The lyrics are dictated by the King of Kings
It's very complicated but you can't tell
Haut dans le ciel
Le voilà le voilà le voilà le voilà
Le soleil
High up in the sky
Here it is, here it is, here it is, the sun
Pendant tout l'hiver on en a bavé
On se cachait en attendant l'été
Derrière les murs et toutes les fenêtres
On en avait vraiment par dessus la tête
We suffered all winter long
We hid while waiting for summer
Behind walls and all the windows
It was really getting on our nerves
Tu vois le soleil ne différencie pas
Il brunit toutes les peaux et c'est comme ça
Il nous rapproche de la même couleur
Tiens devine qui est le chanteur
You see, the sun doesn't differentiate
It tans all skin types, that's just the way it is
It brings us closer to the same color
Can you guess who the singer is?
Contributed by Leah P. Suggest a correction in the comments below.
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RQ
Toujours d’actualité ☀️👌
Amandine Dine
Et toujours et toujours ☀️🌞🥵
Sylvain bourgaa
Toujours aussi bon dès le matin 🌅🌊🤙😎🏝️
RICARD STEVE
ya 20 ans ça passe trop vite j en ai le ptit frisson ds le dos
Sariah thr
Oh des souvenirs Tenerife Croatie Maroc 🇲🇦 a chaque fois le matin nous l’écoutions pour se motiver ❤️
Joffrey VDL
Qui ne veux pas ne peux pas se déshabiller. Tout l'hiver on en a bavé mais là c'est bon il arrive donc sortez les gars ! Plantez des graines, aimez, vivez !
Mat h
wow 20 ans que je l'avais pas réécouter...la bonne nouvelle (ou pas) c'est que je bédave toujours comme un ours...
Lina mel
Mon époque
Armel pingrenon
Que c est gentil et ponctue
Sébastien Maillot
Comment vous faites pour vous battre dans les commentaires d'une chanson preille ?