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
Ecce Homo Et Caetera
Serge Gainsbourg Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ecce homo
Ecce homo
Ecce homo
Ecce homo, homo, homo
Ecce homo
Ecce homo
Ecce homo
Me voici à poil à l'hosto
L'aiguille hypodermique me cherche les lipides
Le toubib s'alarme de mon masque livide
T'inquiète doc', il n'est jamais trop tôt
Ecce homo
Ecce homo
Ecce homo
Ecce homo, homo, homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Héros, héros, suis-je un héros
Qualité première lucide
Je fais mon check-up comme d'hab
Tout baigne, limpide
Résultat zéro, double zéro
Ecce homo
Ecce homo
Ecce homo
Ecce homo, homo, homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Bullshot et shit un jour auront ma peau
Et mon cerveau son propre acide
Oh comme j'aimerais noyé dans le liquide
Descendre à reculons comme Arthur Rimbaud
Ecce homo
Ecce homo
Ecce homo
Ecce homo, homo, homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ok, K.O.
Le cœur pompe à malheur goutte à goutte se vide
Cancer arrêt cardiaque me laissent impavide
Dormir, une chance de rêve, trop c'est trop
Ecce homo
Ecce homo
Ecce homo
Ecce homo, homo, homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo, homo, homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo, homo, homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo, homo, homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo
Ecce homo, homo, homo
Ecce homo
The song "Ecce Homo Et Caetera" by Serge Gainsbourg is a play on the Latin phrase "Ecce Homo," which means "behold the man" and is often associated with the trial of Jesus Christ before his crucifixion. In the song, Gainsbourg presents himself as a man undergoing medical treatment, referencing his own mortality and the fragility of the human body. The repeated refrain of "Ecce homo" emphasizes the theme of mortality and the idea that all humans are subject to the same fate.
The opening verse of the song describes the singer who finds himself in a hospital, undergoing treatment as the needle searches for his lipids. The doctor is worried about his livid state, but the singer tells the doctor not to worry as it is never too early to check for any diseases. In the second verse, Gainsbourg questions whether he is a hero and describes his regular check-up routine. He adds that everything is clear on the medical front, but the result is still zero, double zero, emphasizing the idea that even when everything is fine, the human body is still fragile.
The third and final verse talk about how the singer expects death to come in the form of either a bullet or drugs. He wishes for a peaceful death and reflects on the idea of letting go of life like Arthur Rimbaud, the infamous poet who died of cancer. The final repetition of "Ecce Homo" brings the song full circle and emphasizes the theme of mortality in the lyrics. Ultimately, "Ecce Homo Et Caetera" is a reflection on life, death, and the inevitability of our mortality.
Line by Line Meaning
One, two, three
The song is beginning with a simple countdown.
Ecce homo
Here is the man
Ecce homo
Here is the man
Ecce homo
Here is the man
Ecce homo, homo, homo
Here is the man, man, man
Me voici à poil à l'hosto
Here I am, naked in the hospital
L'aiguille hypodermique me cherche les lipides
The hypodermic needle is searching for my fat
Le toubib s'alarme de mon masque livide
The doctor is alarmed by my pale face
T'inquiète doc', il n'est jamais trop tôt
Don't worry, doc, it's never too soon
Héros, héros, suis-je un héros
Hero, hero, am I a hero?
Qualité première lucide
First quality clear
Je fais mon check-up comme d'hab
I'm getting my check-up as usual
Tout baigne, limpide
Everything is fine, clear
Résultat zéro, double zéro
Result zero, double zero
Bullshot et shit un jour auront ma peau
Bullshot and shit will one day kill me
Et mon cerveau son propre acide
And my brain its own acid
Oh comme j'aimerais noyé dans le liquide
Oh how I would like to drown in liquid
Descendre à reculons comme Arthur Rimbaud
Descending backwards like Arthur Rimbaud
Ok, K.O.
Ok, knock out
Le cœur pompe à malheur goutte à goutte se vide
The heart pumps slowly, drop by drop, emptying itself
Cancer arrêt cardiaque me laissent impavide
Cancer and heart attack leave me unmoved
Dormir, une chance de rêve, trop c'est trop
Sleeping, a chance to dream, too much is too much
Ecce homo
Here is the man
Ecce homo
Here is the man
Ecce homo
Here is the man
Ecce homo, homo, homo
Here is the man, man, man
Ecce homo
Here is the man
Ecce homo
Here is the man
Ecce homo
Here is the man
Ecce homo, homo, homo
Here is the man, man, man
Ecce homo
Here is the man
Ecce homo
Here is the man
Ecce homo
Here is the man
Ecce homo, homo, homo
Here is the man, man, man
Writer(s): Serge Gainsbourg
Contributed by Abigail J. Suggest a correction in the comments below.
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