1) Raphaël Haroche, born on 7 November 1975 in Paris, Île-de-France, France, is a French singer who performs under the name Raphael. His father is Russian and his mother is from Argentina.
He began his public career with the song "Cela Nous Aurait Suffi (Dayenou)", featured on his critically-acclaimed debut album Hôtel de l'Univers in 2001. His first major public hit was "Sur La Route", a duet with French long-time rock legend Jean-Louis Aubert. His second album, La Réalité (2003), was met with successes both critical and commercial, and Raphael has been on the road ever since, playing gigs all over France. After the release of super-hit album Caravane, best-selling French LP of 2005 helped by catchy-yet-thought-provoking tunes such as "Caravane," "Ne Partons Pas Fâchés," "Et dans 150 ans," or "Schengen", he went on to win three 'Victoires de la Musique'.
His current partner is Mélanie Thierry (actress and model).
2) Pianist and composer Phil Raphaël was born in New York in 1930 and an active member of the capital of bop’s music scene during the 1950s, occasionally playing with Charlie Parker and saxophonist John Eardley. The only recorded trace of his activities is a session he did with the legendary trumpet player Red Rodney for the Prestige label in 1951. According to the liner notes, Phil Raphael also played in Tommy Dorsey and Stan Kenton’s big bands – although there is no recorded proof of this – and moved to Las Vegas for a while. It is unknown exactly when he appeared on the Belgian scene, nor when he disappeared from the musical life of Brussels, but he did play at the Pol’s club where his wife worked as a cloakroom assistant during the 1970s. The recording session for ‘Stop, Look, Listen’ took place on 3rd June 1972 and although the character and story of the leader remain a mystery, his Belgian accompanists were well-known figures on the Brussels scene. Drummer Robert Pernet, vibraphone player and percussionist Johnny Perret and double bass player Paul Dubois played and recorded with Toots Thielemans, Bobby Jaspar and many others for thirty years or so. Unfortunately, Paul Dubois, the only surviving member of the rhythm section, who played just this once with the pianist, has no memory of Raphael or of the opera singer Rose Thompson, whose voice lights up the arrangements. However, the real mystery surrounding this album - even more than the circumstances in which it came into existence - is the magical nature of the compositions. Raphael manages to create a unique alchemy on every track, a harmonious blend of very different musical styles: be-bop, opera, free jazz, and rock. Many musicians tried their hand at fusion around that time, but this album is unequalled in its lyrical, poetic chemistry. Stop, look, listen…
Hôtel de l'Univers
Raphaël Lyrics
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Des enfants, des amis,
Une nation, sans guerre,
Sans guerre qui grandit
On n'a besoin de rien
Partir revenir, se lever
Se coucher
Des métros entiers
On n'a besoin de rien
Un dimanche en famille,
Un dimanche en famille
La journée n'est pas encore finie
Qu'il faut essayer de trouver de quoi l'on a envie
On n'a besoin de rien
On n'a besoin de rien
Pour être un homme plus moderne
Plus moderne au corps parfait
Pour être un homme plus moderne
Plus moderne
A l'hôtel, à l'univers
C'est ouvert tous les jours
C'est le confort moderne,
On fait des prix aller-retour
Mais on ne change pas le système
Mais c'est sans garantie
Une nation qui mange qui mange
Qui conduit des voitures
C'est le monde moderne
On construira des tours
On enverra des colons pour le ciel
Pour propager la foi
Pour un monde beaucoup plus moderne
un monde toujours plus entier
Beaucoup plus moderne
Un monde toujours plus entier
pour être un homme plus moderne
Plus moderne au corps parfait
Pour être un homme plus moderne
Plus moderne
The lyrics of "Hôtel de l'Univers" by Raphaël touch on several themes related to modernity, family, and the desire for fulfillment. The song starts by mentioning the importance of a home, family, and friends, as well as a nation without war, emphasizing the simplicity and contentment these elements bring. The phrase "On n'a besoin de rien" (We need nothing) is repeated throughout the song, suggesting that true happiness and satisfaction can be found in the simple joys of life.
The second paragraph focuses on the constant movement and transience of life. It describes the act of leaving and returning, the daily routines of waking up and going to bed, and encounters with whole subway cars full of people. These experiences are presented as part of a nomadic existence, with the repeated line signaling that despite the constant change, one still does not need much to be content.
The chorus introduces the concept of a Sunday with family, highlighting the importance of spending time together. It suggests that the day is not yet over, but already there is pressure to find something to fulfill one's desires. This could represent the perpetual quest for fulfillment, even in moments of supposed relaxation and comfort. The repetition of "On n'a besoin de rien" in this part reinforces the idea that true happiness can be found within the bonds of family and not in material possessions.
The final verse discusses the allure of modern comforts, using the metaphor of a hotel called "Hôtel de l'Univers." It claims that this hotel is open every day and offers the modern comfort of round-trip discounts. The lyrics question whether this modernity comes with a guarantee or if it is merely a superficial façade. The mention of a nation that eats, drives cars, builds towers, and sends colonizers to the sky indicates the desire for progress and expansion. However, it also acknowledges the potential dangers and uncertainties that come with modern advancements.
In the last lines, "Pour être un homme plus moderne, plus moderne au corps parfait" (To be a more modern man, more modern with a perfect body), the lyrics touch on the pressure to conform to societal standards of masculinity and physical attractiveness. This suggests that the pursuit of modernity extends beyond external accomplishments and encompasses personal image and appearance. The repetition of "Plus moderne" serves as a reminder that the hunger for progress and perfection is an ongoing pursuit, perhaps never fully satisfying the human desire for more.
Lyrics © NOUVELLES EDITIONS FRANCAISES
Written by: Caroline MANSET, Raphael HAROCHE
Lyrics Licensed & Provided by LyricFind