He was born Lucien Ginzburg in Paris, France, the son of Jewish Russian parents who fled to France after the 1917 Bolshevik uprising. His childhood was profoundly affected by the occupation of France by Nazi Germany, during which he and his family, as Jews, were forced to wear the yellow star and eventually flee from Paris. He had a daughter, Charlotte Gainsbourg, with English singer and actress Jane Birkin; and a son, Lulu, with his last partner, Bambou (Caroline Von Paulus, who is related to Friedrich Paulus). Before he was 30 years old, Lucien Ginsburg was a disillusioned painter but earned his living as a piano player in bars. Daughter Charlotte would later become an actress and singer.
His early songs were influenced by Boris Vian and were largely in the vein of "old-fashioned" chanson. Very early, however, Gainsbourg began to move beyond this and experiment with a succession of different musical styles: jazz early on, English pop in the 60's, reggae in the 70's, even hip-hop in the 80's.
Success began to arrive when, in 1965, his song "Poupée de cire, poupée de son" was the Luxembourg entry in the Eurovision Song Contest. Performed by French teen singer France Gall, it won the grand prize. (The song was covered in English as "A Lonely Singing Doll" by British teen idol Twinkle.) He arranged other Gall songs and LPs that were characteristic of the late 1960s psychedelic styles, among them Gall's '1968' album. Another of Serge's songs "Boum Bada Boum" was entered in by Monaco in the 1967 contest, sung by Minouche Barelli; It came 5th.
In 1969, he released what would become his most famous song in the English-speaking world, "Je t'aime... moi non plus", which featured simulated sounds of female orgasm. The song appeared that year on an LP, "Jane Birkin/Serge Gainsbourg". Originally recorded with Brigitte Bardot, it was released with future girlfriend Birkin when Bardot backed out. While Gainsbourg declared it the "ultimate love song," it was considered too "hot"; the song was censored in various countries, and in France, even the toned-down version was suppressed. Even the Vatican made a public statement citing the song as offensive. Its notoriety led it to reaching no. 1 in the UK singles chart. A long-standing rumor maintains that Gainsbourg and Birkin were actually having sex during the recording session (asked about it in an interview, Gainsbourg answered that if this was true, the song would have lasted longer than 4 minutes).
The seventies
His most influential work came near the start of the seventies with Histoire de Melody Nelson, released in 1971. This concept album, produced and arranged by Jean-Claude Vannier, tells the story of a Lolita-esque affair, with Gainsbourg as the narrator and Jane Birkin as the eponymous English heroine. It features prominent string arrangements and even a massed choir at its tragic climax. At the time, sales were poor, but the album has proven influential with artists such as Air, David Holmes and Beck.
In 1975, he released the album Rock Around the Bunker, a rock album written entirely on the subject of the Nazis. Gainsbourg used black humour, as he and his family suffered during World War II. While a child in Paris, Gainsbourg himself had worn the Yellow badge as the mark of a Jew.
The next year saw the release of another major work, L'Homme à la Tête de Chou (Cabbage-Head Man), featuring the new character Marilou and sumptuous orchestral themes.
In Jamaica in 1978 he recorded "Aux Armes et cetera," a reggae version of the French national anthem "La Marseillaise", with Robbie Shakespeare, Sly Dunbar and Rita Marley. This song earned him death threats from right-wing veterans of the Algerian War of Independence who were opposed to certain lyrics. Shortly afterwards, Gainsbourg bought the original manuscript of La Marseillaise. He was able to reply to his critics that his version was, in fact, closer to the original as the manuscript clearly shows the words "Aux armes et cætera..." for the chorus.
The next year saw him in the new look of Gainsbarre, officially introduced in the song "Ecce Homo."
Final years
In the 1980's, approaching the end of his life, Gainsbourg became a regular figure on French TV. His appearances seemed devoted to his controversial sense of humour and provocation. He would frequently show up drunk and unshaven on stage. Perhaps his most famous incident came when, on Michel Drucker's live Saturday evening show with the American singer Whitney Houston, he exclaimed, "I want to fuck her."
During this period he released Love On The Beat and his last studio album, You're Under Arrest, (which saw him adapt his style to the hip-hop genre), as well as two live recordings. His third and last Eurovision Song Contest entry came in 1990 with the French entry "White and Black Blues", sung by Joëlle Ursull. It came second in a tie with Ireland. His songs became increasingly eccentric in this period, ranging from the anti-drug "Les Enfants de la Chance" to the duet with his daughter Charlotte called "Lemon Incest (Un zeste de citron)." The title of the latter demonstrates Gainsbourg's love of puns (another example is "Bowie, Beau oui comme Bowie").
Discography :
1958 : Du Chant À La Une !
1959 : Serge Gainsbourg N°2
1961 : L'étonnant Serge Gainsbourg
1962 : Serge Gainsbourg N° 4
1963 : Gainsbourg Confidentiel
1964 : Gainsbourg Percussions
1968 : Initials B.B.
1968 : Bonnie And Clyde ( with Brigitte Bardot )
1969 : Jane Birkin-Serge Gainsbourg
1971 : Histoire de Melody Nelson ( with Jane Birkin )
1973 : Vu de l'extérieur
1975 : Rock around the bunker
1976 : L'Homme à tête de chou
1979 : Aux armes et cætera
1981 : Mauvaises Nouvelles Des Étoiles
1984 : Love on the Beat
1987 : You're Under Arrest
Des Laids Des Dubs
Serge Gainsbourg Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
J'me marre doucement pour n'pas te réveiller
Tu es ma p'tite Marilyn
Et moi j'suis ton Miller
Hein? Non pas Arthur plutôt Henry
Le spécialiste du hardcore
La beauté cachée
Se voit sans délai délai
La beauté cachée
Des laids des laids
Se voit sans délai délai
Même musique même reggae pour mon chien
Que tout l'monde trouvait si vilain
Pauv' toutou
C'est moi qui boit et c'est lui qu'est mort
D'une cirrhose, peut-être était-ce par osmose
Tellement qu'il buvait mes paroles
La beauté cachée
Des laids des laids
Se voit sans délai délai
La beauté cachée
Des laids des laids
Se voit sans délai délai
Enfin faut faire avec c'qu'on a
La sale gueule mais on n'y peut rien
D'ailleurs nous les affreux
J'suis sûr que Dieu nous accorde
Un peu de sa miséricorde car
La beauté cachée
Des laids des laids
Se voit sans délai délai
La beauté cachée
Des laids des laids
Se voit sans délai délai, eh oui
La beauté cachée
Des laids des laids
Se voit sans délai délai
La beauté cachée
Des laids des laids
Se voit sans délai délai
La beauté cachée
Des laids des laids
Se voit sans délai délai
Délai délai
Délai délai
The song "Des Laids Des Dubs" by Serge Gainsbourg is a tribute to the beauty in the ‘unattractive’. The singer of the song talks about how when he is called ugly, he quietly laughs to himself so as not to wake up his companion. He compares himself with Marilyn Monroe and his companion with her husband Arthur Miller. He corrects himself and says that he meant Henry, the specialist of hardcore. In these lines, Gainsbourg subtly addresses the fact that even though beauty standards vary from person to person, there is a commonly held belief that attractive people should only be with similarly attractive people. Here, he shows that physical appearance plays little to no role when it comes to love, attraction and companionship.
Gainsbourg goes on to talk about his pet dog, whom he loved even though everyone found him unattractive. He equates himself to his dog, saying "it’s me who drinks, and it’s him who’s dead" - perhaps referring to the fact that although he (Gainsbourg) may seem like a drinker or what people might consider as an unpleasant person, his dog still had a cirrhotic liver because he loved and absorbed every word his master uttered. The chorus of the song emphasizes the beauty in the ‘unattractive’. It talks about how the hidden beauty of the so-called ‘ugly’ people can be seen without delay. Gainsbourg concludes the song by saying that one has to accept what they are, and even the so-called ‘ugly’ people deserve God’s mercy.
Line by Line Meaning
Quand on m'dit que j'suis moche
J'me marre doucement pour n'pas te réveiller
Tu es ma p'tite Marilyn
Et moi j'suis ton Miller
Hein? Non pas Arthur plutôt Henry
Le spécialiste du hardcore
When someone tells me that I'm ugly,
I just laugh to avoid waking you up.
You're my little Marilyn,
And I'm your Miller.
Wait, not Arthur, rather Henry,
The specialist of hardcore.
La beauté cachée
Des laids des laids
Se voit sans délai délai
La beauté cachée
Des laids des laids
Se voit sans délai délai
The hidden beauty
Of the ugly, the ugly
Is seen instantly, instantly.
The hidden beauty
Of the ugly, the ugly
Is seen instantly, instantly.
Même musique même reggae pour mon chien
Que tout l'monde trouvait si vilain
Pauv' toutou
C'est moi qui boit et c'est lui qu'est mort
D'une cirrhose, peut-être était-ce par osmose
Tellement qu'il buvait mes paroles
Same music, same reggae for my dog,
That everyone found so ugly.
Poor puppy.
I'm the one who drinks and he's the one who died,
Maybe it was by osmosis, he drank my words so much.
Enfin faut faire avec c'qu'on a
La sale gueule mais on n'y peut rien
D'ailleurs nous les affreux
J'suis sûr que Dieu nous accorde
Un peu de sa miséricorde car
In the end, we have to deal with what we have,
The ugly face, but we can't do anything about it.
Anyway, for us ugly ones,
I'm sure that God grants us
A bit of his mercy because
La beauté cachée
Des laids des laids
Se voit sans délai délai
La beauté cachée
Des laids des laids
Se voit sans délai délai, eh oui
The hidden beauty
Of the ugly, the ugly
Is seen instantly, instantly.
The hidden beauty
Of the ugly, the ugly
Is seen instantly, instantly, yes.
La beauté cachée
Des laids des laids
Se voit sans délai délai
La beauté cachée
Des laids des laids
Se voit sans délai délai
The hidden beauty
Of the ugly, the ugly
Is seen instantly, instantly.
The hidden beauty
Of the ugly, the ugly
Is seen instantly, instantly.
La beauté cachée
Des laids des laids
Se voit sans délai délai
Délai délai
Délai délai
The hidden beauty
Of the ugly, the ugly
Is seen instantly, instantly.
Instantly, instantly,
Instantly, instantly.
Lyrics © RESERVOIR MEDIA MANAGEMENT INC
Written by: Serge Gainsbourg
Lyrics Licensed & Provided by LyricFind
Elian
on Ford Mustang
We're swapping spits / We're snorting lines [double entendre] (On s' fait des "lines")
In a Ford Mustang
And then, "Bang"
We're banging in [triple entendre]
To the plane trees / And then, "Bang," we're getting high ("embrasser les platanes = planer" [ French] (=to get high)
"Mus" to the left
"Tang" to the right
And to the left, to the right
A windshield wiper
A pack of Kool
A badge with the inscription
"Keep Cool"
A bar of
Chocolate
A Coca-Cola
We're swapping spits / We're snorting lines
In a Ford Mustang
And then, "Bang"
We're banging in
To the plane trees
"Mus" to the left
"Tang" to the right
And to the left, to the right
A bottle
Of make-up fluid
A flashgun
A Browning (automatic pistol)
A phonograph
A volume
Of Edgar A. Poe
And a plain brass ZIPPO
We're swapping spits / We're snorting lines
In a Ford Mustang
And then, "Bang"
We're banging in
To the plane trees
"Mus" to the left
"Tang" to the right
And to the left, to the right
An edition
Of Superman
A nut from
Paco
Rabanne
A pic of
Marilyn
A tube of aspirin
We're swapping spits / We're snorting lines
In a Ford Mustang
And then, "Bang"
We're banging in
To the plane trees
"Mus" to the left
"Tang" to the right
And to the left, to the right