D
Deleted member 29256
OMG! That iconic Celine Dion "dress" in the back, gag!
#bientôt - DALIDA - A Short Highlight Of An Illustrious Career!
- Thread starter berserkboi
- Start date
OMG! That iconic Celine Dion "dress" in the back, gag!
Nooo, my first 10... This is a heartbreaking elimination for me and I was afraid it was coming soon.
Just as I was planning to do the remaining commentary this evening, this happens. And @berserkboi scores this song 'much' lower than me? Didn't really expect that.
Thanks @Disco Blister and others who recognized this masterpiece!
The reason I didn't comment is because I had so much to say about it.
First of all, it is probably my favorite discovery of the entire rate and a contender for my 11, thank you so much for including it @berserkboi!
Oh my, what a gorgeous song! As soon as she started singing, I fell in love with it. The melody, the instrumental and her delivery are all absolute perfection! It just flows so beautifully and creates a magical atmosphere. I agree that it sounds like a Disney or some romantic movie soundtrack song, it has that classic feel to it that is so lovely.
Very recently, I learned that it's a cover, but it sounds like a completely different song, since Dalida brought another life to it and made is as stunning as ever.
By far my favorite Dalida song of the 50's and one of the ultimate Dalida favorites for me.
Another thing I noticed is that "L’Histoire D’Un Amour" reminded me of a Monegasque Eurovision entry back from 1960, which is one of my favorite songs from that year:
The instruments and the vibe of the songs are similar, but "L’Histoire D’Un Amour" is miles better.
All in all, that average score is nothing to brag about, but out of the remaining songs, it should've lasted way longer.
Hopefully "Bambino" and "Gondolier" both make it into the top 15 at least. And hopefully I won't lose any of my faves soon.
Just as I was planning to do the remaining commentary this evening, this happens. And @berserkboi scores this song 'much' lower than me? Didn't really expect that.
Thanks @Disco Blister and others who recognized this masterpiece!
The reason I didn't comment is because I had so much to say about it.
First of all, it is probably my favorite discovery of the entire rate and a contender for my 11, thank you so much for including it @berserkboi!
Oh my, what a gorgeous song! As soon as she started singing, I fell in love with it. The melody, the instrumental and her delivery are all absolute perfection! It just flows so beautifully and creates a magical atmosphere. I agree that it sounds like a Disney or some romantic movie soundtrack song, it has that classic feel to it that is so lovely.
Very recently, I learned that it's a cover, but it sounds like a completely different song, since Dalida brought another life to it and made is as stunning as ever.
By far my favorite Dalida song of the 50's and one of the ultimate Dalida favorites for me.
Another thing I noticed is that "L’Histoire D’Un Amour" reminded me of a Monegasque Eurovision entry back from 1960, which is one of my favorite songs from that year:
The instruments and the vibe of the songs are similar, but "L’Histoire D’Un Amour" is miles better.
All in all, that average score is nothing to brag about, but out of the remaining songs, it should've lasted way longer.
Hopefully "Bambino" and "Gondolier" both make it into the top 15 at least. And hopefully I won't lose any of my faves soon.
He/Him
That's what I meant by that 'roller coaster' every rate eventually becomes. It was all going perfectly well, and now my high scores are starting to fall quickly (@nnnumb predicted this already). And you're absolutely not to blame for the elimination of "L’Histoire D’Un Amour" *looks at @Empty Shoebox*
I sincerely hope it's one of the covers leaving next (it turns out I gave 'only' three 10s to the songs that aren't some type of cover or adaptation, and it better not be any of them).
Last edited:
Oh how happy I became when I read about that exhibition, as I’m going to Paris in June for Mylene Farmer!
Sadly the happiness was of the quickly passing kind: ”The exhibition runs until August 13th, 2017”.
So near, yet so far! Sob.
Sadly the happiness was of the quickly passing kind: ”The exhibition runs until August 13th, 2017”.
So near, yet so far! Sob.
He/Him
I am very sorry for giving you false hope there! I should read these things more closely indeed!
Maybe check out this site for what is coming up in the world of Dalida in June while you are there... Hopefully there's something worthwhile for you!
he/him
Hey everyone - our fearless leader @berserkboi asked me to let you know (with his apologies) that the next elimination may be delayed until tomorrow morning thanks to
He/Him
Thanks so much, wonderful @WowWowWowWow for updating everyone on my behalf while I couldn't (but here I am finally able to access PopJustice properly at a Matchbox 20 hour [I must be lonely]). What a mess that was, as is this elimination but here goes!
#23
Il Pleut Sur Bruxelles
Average Score: 7.778
Highest Score: 10 x 2 (Le Berserky @Maki)
Lowest Score: 5 x 1 (@Empty Shoebox)
#23
Il Pleut Sur Bruxelles
Average Score: 7.778
Highest Score: 10 x 2 (Le Berserky @Maki)
Lowest Score: 5 x 1 (@Empty Shoebox)
Where do I even begin with Il Pleut Sur Bruxelles? This was the last song I debated giving my 11 to until REDACTED snatched it, and to tell you the truth at that point it was pretty much a coin toss between the two remaining tracks in line for it. Originally not a song I thought much about while growing up, as an adult I am in awe of its splendour. To no one’s surprise, a child who just got into Dalida would not necessarily give lots of thought towards lyric when bopping along to her more accessible records. From memory when I came across Il Pleut Sur Bruxelles all those years ago, I loved the instrumental yet the odd delivery and the complex lyric left me cold and I slept on it from years. Fast forward to the Dalida Rate and Berserky trying to find songs to pad out the playlist, he remembers Il Pleut Sur Bruxelles exists and could feature...
Listening to it the first time within the context of the rate, I am instantly transported the moment that grand yet intimate instrumental kicks in. The 3 minutes 21 seconds of the YouTube lyric video flow by in a flash and I am left with tears streaming down my cheeks. The lyrics read like a poem throughout, but it is when it gets to the text where Dalida says ‘Jacky, ne nous quitte pas!’ that I understand what is happening here (Ne Me Quitte Pas is the ultimate Jacques Brel song for Berserkboi, which reveals the connection instantly). The lyric itself is an incredible loop of some of Jacques Brel’s poems and songs in a new context! Featured are Jef, Mathilde, Ces Gens-Là, Amsterdam, Marieke, Les Flamandes, Vésoul, Titine, Madeleine, J'Arrive, Jojo, La Fanette, Fernand and Jacky , and I absolutely recommend tracking each one down. The team of M.Jouveaux/J.Barnel have done a spectacular job compiling this whole thing into a lyric that makes sense as an homage, referring to the characters and places of those texts and how they are all in mourning of Brel’s passing in their own way.
As far as tributes go, the work put towards just writing Il Pleut Sur Bruxelles is already mightily impressive, but it doesn’t stop there! Dalida attempts something incredibly challenging as a trained professional singer – she delivers the whole thing in Brel’s trademark « crescendo brélien ». Paging @londonrain who will appreciate how hard it is to use this technique where you meet the beat without sinking into the melody perfectly, rather accentuating syllables as you end each line. This style is often performed with an element of brashness but Dalida here maintains a softness in her delivery of the melody that transcends what is established by the technique. Her gorgeous accent allows Dalida to pronounce words in melodious ways that fail her contemporaries, and her traditional training sees her change keys to devastating effects on this listener.
I rave on about how wonderful Dalida is as a singer, and she has proven this time and again with the life experiences she brings to her performances on many tracks we are yet to discuss, but songs like Il Pleut Sur Bruxelles shows it isn’t just theatrics that make her special. The way she sings here does not allow theatrics, there are no huge notes to belt out – this is a quiet and intimate eulogy for a close friend, all Dalida does is modify her tone as the song progresses and the effect leaves me in tears the same way live performances of Je Suis Malade does. The range of this woman, as is her understanding of her instrument is mind-blowing!
I realise there are only two 10s up there, and in a perfect world Il Pleut Sur Bruxelles would not be leaving us before Top 3 but subconsciously I think we all realised we were dealing with something special here – heck, even our Lady Of Shoeboxes gave it a 5 as a lowest score – that’s a 9.5 on my scale! If Il Pleut Sur Bruxelles proves anything to you beyond the splendour of Dalida and her team, it probably should be how beautiful the French language really is. What is accomplished here in the complexity of the text – I have doubts it could be done in many other languages. Furthermore, it will take something truly special to dislodge this as the Holy Grail of Tribute songs in the history books of Berserk World.
@Sprockrooster (6) hurts me by being a low scorer here when we usually agree so much on Dalida, but I am hoping the context makes him find new love for the track. - This is a bit over the place cause her vocal runs seem a bit rushed or she might be out of breath. Though that endnote on Bruxelles makes up for a few flaws. @Disco Blister (8) is perhaps fair here but my tears are present all the same - This is almost new to me (I’m such a bad 80’s Dalida fan). An hommage for Jacques Brel? Oh. I really appreciate and respect the beautiful thought, and this is not bad, just a bit let down by the dated production especially in the chorus.
@Maki (10), my one soul mate here will probably find more reasons for myself and him to cry over us both not awarding this our 11 in the end - At first, this wasn't one of my contenders for 10, but it's so amazing that it can't resist giving it that score. The production/the music arrangement couldn't be more perfect - the intro is goosebump-inducing, I even hear some Arabian flourishes in the instrumental. Gorgeous tribute to Jacques Brel, and I find it genius that she used the names of his songs within the lyrics. Bravo! @nnnumb (8.9) makes me wonder whether this was the track he referred to that he would award his 11 to, now with a redo… - Another major discovery from this rate. This is just... lovely.
Listening to it the first time within the context of the rate, I am instantly transported the moment that grand yet intimate instrumental kicks in. The 3 minutes 21 seconds of the YouTube lyric video flow by in a flash and I am left with tears streaming down my cheeks. The lyrics read like a poem throughout, but it is when it gets to the text where Dalida says ‘Jacky, ne nous quitte pas!’ that I understand what is happening here (Ne Me Quitte Pas is the ultimate Jacques Brel song for Berserkboi, which reveals the connection instantly). The lyric itself is an incredible loop of some of Jacques Brel’s poems and songs in a new context! Featured are Jef, Mathilde, Ces Gens-Là, Amsterdam, Marieke, Les Flamandes, Vésoul, Titine, Madeleine, J'Arrive, Jojo, La Fanette, Fernand and Jacky , and I absolutely recommend tracking each one down. The team of M.Jouveaux/J.Barnel have done a spectacular job compiling this whole thing into a lyric that makes sense as an homage, referring to the characters and places of those texts and how they are all in mourning of Brel’s passing in their own way.
As far as tributes go, the work put towards just writing Il Pleut Sur Bruxelles is already mightily impressive, but it doesn’t stop there! Dalida attempts something incredibly challenging as a trained professional singer – she delivers the whole thing in Brel’s trademark « crescendo brélien ». Paging @londonrain who will appreciate how hard it is to use this technique where you meet the beat without sinking into the melody perfectly, rather accentuating syllables as you end each line. This style is often performed with an element of brashness but Dalida here maintains a softness in her delivery of the melody that transcends what is established by the technique. Her gorgeous accent allows Dalida to pronounce words in melodious ways that fail her contemporaries, and her traditional training sees her change keys to devastating effects on this listener.
I rave on about how wonderful Dalida is as a singer, and she has proven this time and again with the life experiences she brings to her performances on many tracks we are yet to discuss, but songs like Il Pleut Sur Bruxelles shows it isn’t just theatrics that make her special. The way she sings here does not allow theatrics, there are no huge notes to belt out – this is a quiet and intimate eulogy for a close friend, all Dalida does is modify her tone as the song progresses and the effect leaves me in tears the same way live performances of Je Suis Malade does. The range of this woman, as is her understanding of her instrument is mind-blowing!
I realise there are only two 10s up there, and in a perfect world Il Pleut Sur Bruxelles would not be leaving us before Top 3 but subconsciously I think we all realised we were dealing with something special here – heck, even our Lady Of Shoeboxes gave it a 5 as a lowest score – that’s a 9.5 on my scale! If Il Pleut Sur Bruxelles proves anything to you beyond the splendour of Dalida and her team, it probably should be how beautiful the French language really is. What is accomplished here in the complexity of the text – I have doubts it could be done in many other languages. Furthermore, it will take something truly special to dislodge this as the Holy Grail of Tribute songs in the history books of Berserk World.
@Sprockrooster (6) hurts me by being a low scorer here when we usually agree so much on Dalida, but I am hoping the context makes him find new love for the track. - This is a bit over the place cause her vocal runs seem a bit rushed or she might be out of breath. Though that endnote on Bruxelles makes up for a few flaws. @Disco Blister (8) is perhaps fair here but my tears are present all the same - This is almost new to me (I’m such a bad 80’s Dalida fan). An hommage for Jacques Brel? Oh. I really appreciate and respect the beautiful thought, and this is not bad, just a bit let down by the dated production especially in the chorus.
@Maki (10), my one soul mate here will probably find more reasons for myself and him to cry over us both not awarding this our 11 in the end - At first, this wasn't one of my contenders for 10, but it's so amazing that it can't resist giving it that score. The production/the music arrangement couldn't be more perfect - the intro is goosebump-inducing, I even hear some Arabian flourishes in the instrumental. Gorgeous tribute to Jacques Brel, and I find it genius that she used the names of his songs within the lyrics. Bravo! @nnnumb (8.9) makes me wonder whether this was the track he referred to that he would award his 11 to, now with a redo… - Another major discovery from this rate. This is just... lovely.
Those devastating words....
A LIVE Performance!
An absolute classic, adapted countless times in countless languages
An absolute classic, adapted countless times in countless languages
he/him
What’s a Matchbox 20 hour? Asking for a friend. Who is me. I’m the friend.
He/Him
I really should've given Il Pleut Sur Bruxelles a 10. However, it isn't my new 11. I cruelly only gave my new favourite a meagre 9.5 which I am disgusted with myself for.
Going off thread slightly: Did Dalida know Brel well? I've got a couple of Brel biographies and I don't recall her getting mentioned in either. Hopefully an oversight on the authors part.
Going off thread slightly: Did Dalida know Brel well? I've got a couple of Brel biographies and I don't recall her getting mentioned in either. Hopefully an oversight on the authors part.
He/Him
Intriguing question - her website mentions the friendship a few times (and makes sense considering the tracks she performs that are either his or have his style to them) but there is no documentation of it anywhere else... Hopefully there's a resource out there for us to find soon!
he/him
Oh jeez that was so obvious.
Losing two 10s in a row isn't a great feeling.
Even though I didn't fall in love with "Il Pleut Sur Bruxelles" immediately, now it is definitely in my top 10 of this rate, and it's a pity that many didn't see the beauty in it. The instrumental is absolutely gorgeous, as well as her vocal delivery. Honestly, I expected it to last longer here. Perhaps it is a song that had to grow on most of the voters, and unfortunately caused them not to give it a higher score.
Also, I wouldn't call the production dated - on the contrary, I find it timeless
Please tell me I'm not losing one of the higher scores next.
Even though I didn't fall in love with "Il Pleut Sur Bruxelles" immediately, now it is definitely in my top 10 of this rate, and it's a pity that many didn't see the beauty in it. The instrumental is absolutely gorgeous, as well as her vocal delivery. Honestly, I expected it to last longer here. Perhaps it is a song that had to grow on most of the voters, and unfortunately caused them not to give it a higher score.
Also, I wouldn't call the production dated - on the contrary, I find it timeless
Please tell me I'm not losing one of the higher scores next.
she/her
Given the difference in my scores to everyone else's, maybe it's for the best that I didn't have time for commentary.
He/Him
You can still comment along the way! :)
Also - sorry the next cut is delayed but I had a work function today :(
He/Him
I apologise it took so long to get this one out to you all but some personal commitments and issues made it difficult to keep the regular schedule. Coincidentally as I apologise for making you wait, we eliminate:
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-988658-1293918211.jpeg.jpg)
#22
J’Attendrai
Average Score: 7.821
Highest Score: 10 x 1 (@Ana Raquel) 9.5 x 1 (Le Berserky)
Lowest Score: 6 x 1 (@Empty Shoebox)
#22
J’Attendrai
Average Score: 7.821
Highest Score: 10 x 1 (@Ana Raquel) 9.5 x 1 (Le Berserky)
Lowest Score: 6 x 1 (@Empty Shoebox)
I suppose I was on trend with my 3 day delay for the next write-up after all! Also - more examples of the low scores not being very low at all, an above average (>5) from Shoebox even?? Check! Despite the lack of a 10 from Le Berserky - there is no denying the significance of J’Attendrai in the Dalida history books. At a time in her career (20 years on - Queen Of Longevity!!) where much of Dalida’s money and presence came from concerts, it seemed like significant chart success would begin to evade her - and she would be a legacy act of sorts with a consistent and established fan base only (I mean following Gigi L’Amoroso’s success is an uphill battle anyway, how does one even do it??).
That was until a little idea changed our perception… Inspired by how the Disco genre was taking off overseas, Orlando (Dalida’s brother and Record Label owner) decides to localise this sound to French music for Dalida. The track to experiment on with this new sound was the title track of Dalida’s 1975 album (so yes, do not get that album for the Disco-fied version readers as you’ll be greeted with the more subdued original) and release it ‘remixed’ as a single in 1976. This leads to yet another #1 hit for Dalida with J’attendrai also credited as the first French Disco hit ever released; and Dalida the Inventor of French Disco. It is funny how we think of Madonna as the Queen of Re-Invention but Dalida (along with Cher) very much did this over and over before Madonna even got her career started. I suppose these ladies weren’t promoted as such at the time hence why the credit went to Madonna more predominantly?
The beauty of J’Attendrai was also around how it showed Dalida as a bankable & contemporary artist alongside acts half her age, not one who to be forgotten with time. This Disco era brought into existence by J’Attendrai also saw Dalida pick up an onslaught of new fans 20 years into her career, and inspire a whole new concert concept we will discuss #bientôt! I find it fascinating how ageism did not affect Dalida’s commercial appeal 20 years on, her charisma transcending age and connecting with multiple generations. She survived the YéYé onslaught in the 60s by adapting her sound and being the first artist to score a #1 hit in French in this style (Itsi Bitsi Petit Bikini), and led the way for Disco in the 70s - showing her talent and also her team who were very resourceful with the material they created as well. Young Berserkboi always loved J’Attendrai growing up and I dare say my bop-loving younger self (back when I was also an @iheartpoptarts full time) would have this as a track with which to mellow and end the night on.
Let’s look at J’Attendrai the song and its history as well! You guessed it I am sure – it’s another cover though not quite like the original… I say original but even the first French version of the track was a cover of an Italian song called ‘Tornerai’ (Italian for ‘You Will Return’). With the lyrical content referring to waiting for one’s love and their safe return – it should be no surprise that J’Attendrai became a big song during World War II when first recorded by Rina Ketty in 1938 (to live through that, yikes!). In 1940 when France was occupied, J’Attendrai quickly became the big French war song with the title being interpreted to mean waiting for peace and liberation.
With its impact in France (and in French) so huge, Tornerai became better known across Europe by its French name even when recorded instrumentally. Tornerai has been adapted and translated in multiple languages notably taking slightly different lyric in each language and with such a beautiful melody as a basis – it very much works in each incarnation.
Dalida’s disco version is quite gorgeous too I must say and the slight melancholy of the delivery and lyric makes the affair weightier than a lot of the fluffier tracks of the genre. Could Dalida also have invented the ‘Crying On The Dancefloor’ style that Robyn and Scissor Sisters sometimes favour also, perhaps? We mentioned France being very receptive to J’Attendrai, and through Dalida’s version it also became a big hit in Canada, Belgium and Netherlands. I do hope that despite us discussing a lot of covers in this rate, you can also appreciate that we are giving a spotlight to classics that although were notable under Dalida are also worthy of discussion if just for their historical significance.
The comment section here is one that made me regret using Disco as a shorthand for @Disco Blister and then finding and replacing for the correct username, which led to multiple Erreur 404 once I extracted commentary. Just look how many times the word Disco is mentioned (dddd) and don’t be as silly as Berserky is your lesson this time.
@Sprockrooster (7.5) is somewhat here for it - I forget a bit about this, but glad to have it back. @WowWowWowWow (7) doesn’t think the wait was very much worth it – I’m not captured, sorry! @Maki (7) will be happy not to lose another 10 here I am sure! (Also yes, the instrumentation is very astute here! A perfect stepping stone into the more full on Disco of later offerings with this softer start a great segment) - One of the weaker songs from the 70's in this rate, but it remains really good. It has a memorable melody, and I like the instrumental, especially when the brass kicks in during the last minute - it totally lifts up the song.
@nnnumb (8.5) is very right here too, Dalida does it all very elegantly - Disco-lite. But very, very elegantly executed. @Disco Blister (6.5) makes all the points!! - I love the idea of disco Dalida more than most of her actual disco songs, even if they’re not bad as such, just a bit too Love Boat for my taste (except for Laissez Moi Danser of course). But what a genius move Disco Dalida was from her brother! I love how during her career she was written off as a has-been so many times, yet she always bounced back stronger and even more successful than before. Dalida, the Original Queen of Re-invention & Comebacks! @pop3blow2 (9) may be previewing a certain Captain Sky #soon! — Sounds like it could over the credits of a 1970’s children’s movie.
That was until a little idea changed our perception… Inspired by how the Disco genre was taking off overseas, Orlando (Dalida’s brother and Record Label owner) decides to localise this sound to French music for Dalida. The track to experiment on with this new sound was the title track of Dalida’s 1975 album (so yes, do not get that album for the Disco-fied version readers as you’ll be greeted with the more subdued original) and release it ‘remixed’ as a single in 1976. This leads to yet another #1 hit for Dalida with J’attendrai also credited as the first French Disco hit ever released; and Dalida the Inventor of French Disco. It is funny how we think of Madonna as the Queen of Re-Invention but Dalida (along with Cher) very much did this over and over before Madonna even got her career started. I suppose these ladies weren’t promoted as such at the time hence why the credit went to Madonna more predominantly?
The beauty of J’Attendrai was also around how it showed Dalida as a bankable & contemporary artist alongside acts half her age, not one who to be forgotten with time. This Disco era brought into existence by J’Attendrai also saw Dalida pick up an onslaught of new fans 20 years into her career, and inspire a whole new concert concept we will discuss #bientôt! I find it fascinating how ageism did not affect Dalida’s commercial appeal 20 years on, her charisma transcending age and connecting with multiple generations. She survived the YéYé onslaught in the 60s by adapting her sound and being the first artist to score a #1 hit in French in this style (Itsi Bitsi Petit Bikini), and led the way for Disco in the 70s - showing her talent and also her team who were very resourceful with the material they created as well. Young Berserkboi always loved J’Attendrai growing up and I dare say my bop-loving younger self (back when I was also an @iheartpoptarts full time) would have this as a track with which to mellow and end the night on.
Let’s look at J’Attendrai the song and its history as well! You guessed it I am sure – it’s another cover though not quite like the original… I say original but even the first French version of the track was a cover of an Italian song called ‘Tornerai’ (Italian for ‘You Will Return’). With the lyrical content referring to waiting for one’s love and their safe return – it should be no surprise that J’Attendrai became a big song during World War II when first recorded by Rina Ketty in 1938 (to live through that, yikes!). In 1940 when France was occupied, J’Attendrai quickly became the big French war song with the title being interpreted to mean waiting for peace and liberation.
With its impact in France (and in French) so huge, Tornerai became better known across Europe by its French name even when recorded instrumentally. Tornerai has been adapted and translated in multiple languages notably taking slightly different lyric in each language and with such a beautiful melody as a basis – it very much works in each incarnation.
Dalida’s disco version is quite gorgeous too I must say and the slight melancholy of the delivery and lyric makes the affair weightier than a lot of the fluffier tracks of the genre. Could Dalida also have invented the ‘Crying On The Dancefloor’ style that Robyn and Scissor Sisters sometimes favour also, perhaps? We mentioned France being very receptive to J’Attendrai, and through Dalida’s version it also became a big hit in Canada, Belgium and Netherlands. I do hope that despite us discussing a lot of covers in this rate, you can also appreciate that we are giving a spotlight to classics that although were notable under Dalida are also worthy of discussion if just for their historical significance.
The comment section here is one that made me regret using Disco as a shorthand for @Disco Blister and then finding and replacing for the correct username, which led to multiple Erreur 404 once I extracted commentary. Just look how many times the word Disco is mentioned (dddd) and don’t be as silly as Berserky is your lesson this time.
@Sprockrooster (7.5) is somewhat here for it - I forget a bit about this, but glad to have it back. @WowWowWowWow (7) doesn’t think the wait was very much worth it – I’m not captured, sorry! @Maki (7) will be happy not to lose another 10 here I am sure! (Also yes, the instrumentation is very astute here! A perfect stepping stone into the more full on Disco of later offerings with this softer start a great segment) - One of the weaker songs from the 70's in this rate, but it remains really good. It has a memorable melody, and I like the instrumental, especially when the brass kicks in during the last minute - it totally lifts up the song.
@nnnumb (8.5) is very right here too, Dalida does it all very elegantly - Disco-lite. But very, very elegantly executed. @Disco Blister (6.5) makes all the points!! - I love the idea of disco Dalida more than most of her actual disco songs, even if they’re not bad as such, just a bit too Love Boat for my taste (except for Laissez Moi Danser of course). But what a genius move Disco Dalida was from her brother! I love how during her career she was written off as a has-been so many times, yet she always bounced back stronger and even more successful than before. Dalida, the Original Queen of Re-invention & Comebacks! @pop3blow2 (9) may be previewing a certain Captain Sky #soon! — Sounds like it could over the credits of a 1970’s children’s movie.
Goddesses being Goddesses
12 Years Later, none of the charisma is gone!
12 Years Later, none of the charisma is gone!
This elimination surely is fitting!
And not only I'm happy for not losing another 10, but this song was my lowest score, too. It's still a really good one, like all of the remaining songs.
I figured out that "J'attendrai" was a cover only a few days ago (not surprised the slightest) and it's a really different arrangement. I wouldn't even tell that this is a disco song, because it's done so subtly.
My ideal next elimination would be "Salma Ya Salama", but I'm not seeing that one go yet.
Oh, and are we up to losing @berserkboi's 11? I'm curious which one it is.
And not only I'm happy for not losing another 10, but this song was my lowest score, too. It's still a really good one, like all of the remaining songs.
I figured out that "J'attendrai" was a cover only a few days ago (not surprised the slightest) and it's a really different arrangement. I wouldn't even tell that this is a disco song, because it's done so subtly.
My ideal next elimination would be "Salma Ya Salama", but I'm not seeing that one go yet.
Oh, and are we up to losing @berserkboi's 11? I'm curious which one it is.
He/Him
We are, @Maki! The next cut is indeed my 11! This should scare a few people who may be also losing theirs as a result if they know my taste well... my poor heart!!
