#bientôt - DALIDA - A Short Highlight Of An Illustrious Career!
- Thread starter berserkboi
- Start date
He/Him
Considering a Mariah stan gave this one an 11, shall we invite @londonrain to join us?
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#15
À Ma Manière
Average Score: 8.321
Highest Score: 11 x 1 (@vague) 10 x 3 (Le Berserky @WowWowWowWow @pop3blow2)
Lowest Score: 5 x 1 (@Empty Shoebox)
#15
À Ma Manière
Average Score: 8.321
Highest Score: 11 x 1 (@vague) 10 x 3 (Le Berserky @WowWowWowWow @pop3blow2)
Lowest Score: 5 x 1 (@Empty Shoebox)
Poor Vague!!! Just like that – our two Dalida discoverers through this rate (Vague & Pop3) lose their 11 in succession! Worse – Pop3 loses one of his second favourite entries with this one too, right after the 11 in Captain Sky! I guess this should tell us À Ma Manière is officially the most accessible song from the playlist for Dalida newbies with its 10.5 average on those two ballots, hey? Play it to any new recruits, fans! :) As much as feel À Ma Manière is deserving of the 10 I gave it, I will admit this was not one of the 10s in contention for my 11 when I was getting down to the wire (I was very happy to see Vague was giving it theirs though!).
When first released in 1980, À Ma Manière was a bit of a flop single/b-side if looking solely at chart impact for the original release. It failed to chart anywhere outside its #35 peak in Canada, but over the years since - Dalida’s many Live TV performances of it have made the song quite a prolific one in her repertoire during our current YouTube age. One of the YouTube uploads even has the closest thing to a conventional Music Video in Dalida’s discography as you’ll see in one of the links below!
More deeply into À Ma Manière’s initial lack of success on the Singles Chart - I’d wager this is due to the track coming out only a couple of years after Dalida’s massive hits Gigi In Paradisco and Laissez Moi Danser and being so sonically different from them, or even so different from Rio De Brazil released only a month or two prior. I’d imagine Dalida’s average audience was expecting more of the same bop-rific sound and the creative shift of À Ma Manière was a bit of a non-starter for this ‘Singles buying’ public. Dalida’s dedicated fanbase however was definitely lapping up the era, with the parent album Olympia 81 very successful, even receiving a GOLD certification for its sales. The album also houses Il Pleut Sur Bruxelles and Fini La Comédie (bientôt) so the quality is definitely there if any of you were after a studio Album from the 41 our Multilingual Goddess released in her lifetime, or that were released posthumously!
Now, let’s get to why this was a 10 for Le Berserky! As usual you give Dalida a fairly standard backing track (although aspects of said instrumental are grand and lush) to work on – and she delivers something that is much greater than the sum of its parts! Aided by the lyric from Sylvain Lebel / Jean Claude Jouhaud / Diane Juster À Ma Manière is both self-reflective and broad, talking about how each of us lives our life our own way; and how Dalida yearns to be true to herself without apology (something that is very hard to do in the public eye). For years actually I had thought that this little song was the original French version of Frank Sinatra’s classic My Way due to the lyric (and title literally translating to My Way). It turns out the original French version of My Way isn’t À Ma Manière - rather it is Comme D’Habitude which I know through Claude François’ version (that I believe to be the first commercially released version?).
Beyond the gorgeous lyric already pushing the track to a special place (DISCLAIMER - seriously everyone, when you listen to a Dalida track, as a standard always look up the lyrics as she made a point especially from the late 60s onwards to select meaningful songs to add to her repertoire), there is also Dalida’s dramatic take making the thing as close to killer as it has any right to be. À Ma Manière is probably the most DIVA vocal she delivers in both studio and live versions, which I don’t generally endorse but here the dramatics totally work - giving 'fight' and conviction to the words!
Though À Ma Manière wasn’t a potential 11 on my list anymore towards the end of voting (mostly due to the instrumental as the rest of that package is killer) – nothing would make me believe it doesnt totally deserve the 10 I gave it! 25 years into her career, while embarking in the Olympia 81 anniversary concert (which the parent album promoted), Dalida not only celebrates her achievements but still shows what a star she is – (and for you Vague) as Mariah would say “Not Everyone Has That!”
@əʊæ (9) disagrees with me on the production, I wonder why this didn’t get a 10 then since to me it’s the only very marginal letdown - fantastic production, really everything is. @WowWowWowWow (10) is starting to give me Inspector Rex/Dalida Memoirs fan fiction and I AM HERE FOR IT!! When do we start shooting??? – Soooooooo Private Investigatrix Dalida really does exist (see my Mourir... comments). She is giving me Jane Bond on that album cover and I’m here for it.
@Sprockrooster (7) sums up some of my feelings though seems to think Dalida is always in Diva mode! Ha! - Dalida by the numbers, but lacking that a little bit extra to make it special. @Disco Blister (7) is another who only likes portions of what's on offer - The verses are good, but the chorus is a killer – in the wrong way... @pop3blow2 (10), I am sorry this rate is going south for you right now but I promise it will get better!! - This is the best of the ’80’s’ sounding produced songs I’ve heard so far. Really good vocal, too.
@nnnumb (9.5) has us asking once more, is this the new 11??? If this isn’t it, there’s only one option left! - Oh, the drama! @Maki (8.5) is objective, which leads to a high score regardless, the power of Dalida! - I absolutely love the verses, while the chorus is a tiny bit weaker. Her signature drama is there, too. I love the instrumental (which can be said for 90% of the songs here) and the use of synths. Maybe it deserved a slightly higher score after all.
When first released in 1980, À Ma Manière was a bit of a flop single/b-side if looking solely at chart impact for the original release. It failed to chart anywhere outside its #35 peak in Canada, but over the years since - Dalida’s many Live TV performances of it have made the song quite a prolific one in her repertoire during our current YouTube age. One of the YouTube uploads even has the closest thing to a conventional Music Video in Dalida’s discography as you’ll see in one of the links below!
More deeply into À Ma Manière’s initial lack of success on the Singles Chart - I’d wager this is due to the track coming out only a couple of years after Dalida’s massive hits Gigi In Paradisco and Laissez Moi Danser and being so sonically different from them, or even so different from Rio De Brazil released only a month or two prior. I’d imagine Dalida’s average audience was expecting more of the same bop-rific sound and the creative shift of À Ma Manière was a bit of a non-starter for this ‘Singles buying’ public. Dalida’s dedicated fanbase however was definitely lapping up the era, with the parent album Olympia 81 very successful, even receiving a GOLD certification for its sales. The album also houses Il Pleut Sur Bruxelles and Fini La Comédie (bientôt) so the quality is definitely there if any of you were after a studio Album from the 41 our Multilingual Goddess released in her lifetime, or that were released posthumously!
Now, let’s get to why this was a 10 for Le Berserky! As usual you give Dalida a fairly standard backing track (although aspects of said instrumental are grand and lush) to work on – and she delivers something that is much greater than the sum of its parts! Aided by the lyric from Sylvain Lebel / Jean Claude Jouhaud / Diane Juster À Ma Manière is both self-reflective and broad, talking about how each of us lives our life our own way; and how Dalida yearns to be true to herself without apology (something that is very hard to do in the public eye). For years actually I had thought that this little song was the original French version of Frank Sinatra’s classic My Way due to the lyric (and title literally translating to My Way). It turns out the original French version of My Way isn’t À Ma Manière - rather it is Comme D’Habitude which I know through Claude François’ version (that I believe to be the first commercially released version?).
Beyond the gorgeous lyric already pushing the track to a special place (DISCLAIMER - seriously everyone, when you listen to a Dalida track, as a standard always look up the lyrics as she made a point especially from the late 60s onwards to select meaningful songs to add to her repertoire), there is also Dalida’s dramatic take making the thing as close to killer as it has any right to be. À Ma Manière is probably the most DIVA vocal she delivers in both studio and live versions, which I don’t generally endorse but here the dramatics totally work - giving 'fight' and conviction to the words!
Though À Ma Manière wasn’t a potential 11 on my list anymore towards the end of voting (mostly due to the instrumental as the rest of that package is killer) – nothing would make me believe it doesnt totally deserve the 10 I gave it! 25 years into her career, while embarking in the Olympia 81 anniversary concert (which the parent album promoted), Dalida not only celebrates her achievements but still shows what a star she is – (and for you Vague) as Mariah would say “Not Everyone Has That!”
@əʊæ (9) disagrees with me on the production, I wonder why this didn’t get a 10 then since to me it’s the only very marginal letdown - fantastic production, really everything is. @WowWowWowWow (10) is starting to give me Inspector Rex/Dalida Memoirs fan fiction and I AM HERE FOR IT!! When do we start shooting??? – Soooooooo Private Investigatrix Dalida really does exist (see my Mourir... comments). She is giving me Jane Bond on that album cover and I’m here for it.
@Sprockrooster (7) sums up some of my feelings though seems to think Dalida is always in Diva mode! Ha! - Dalida by the numbers, but lacking that a little bit extra to make it special. @Disco Blister (7) is another who only likes portions of what's on offer - The verses are good, but the chorus is a killer – in the wrong way... @pop3blow2 (10), I am sorry this rate is going south for you right now but I promise it will get better!! - This is the best of the ’80’s’ sounding produced songs I’ve heard so far. Really good vocal, too.
@nnnumb (9.5) has us asking once more, is this the new 11??? If this isn’t it, there’s only one option left! - Oh, the drama! @Maki (8.5) is objective, which leads to a high score regardless, the power of Dalida! - I absolutely love the verses, while the chorus is a tiny bit weaker. Her signature drama is there, too. I love the instrumental (which can be said for 90% of the songs here) and the use of synths. Maybe it deserved a slightly higher score after all.
Yup. There goes the new 11.
This is the track that I can't get away from. It's undoubtedly to do with the performance as much as the song (that widening of eyes midway through... wow!), but this is just one stunning track. My discovery of the rate.
As a side note: The artwork for the single release is very misleading is it not? If I saw that and didn't know the track, I'd be expecting something summery and jaunty instead of the dramatic juggernaut of emotion that the song actually is. A misfire from the artwork department for sure.
This is the track that I can't get away from. It's undoubtedly to do with the performance as much as the song (that widening of eyes midway through... wow!), but this is just one stunning track. My discovery of the rate.
As a side note: The artwork for the single release is very misleading is it not? If I saw that and didn't know the track, I'd be expecting something summery and jaunty instead of the dramatic juggernaut of emotion that the song actually is. A misfire from the artwork department for sure.
He/Him
I am sorry the old and new went in such quick succession for you! You are right though, the artwork was very misleading (though A Ma Maniere was the B-Side to Chanteur if I am to believe the label, maybe that one is more summery?) luckily the reorchestration version from 1996 (the second image I believe?) got it closer to the true content. Isn't it amazing how Dalida managed to get such quality content in so many of her b-sides? (Mourir sur scene and Il Venait D'Avoir Dix Huit Ans were also originally only b-sides!!!) what a discography!!!
she/her
Yikes! This is turning into a bit of a bloodbath for my high scores. And yet Gigi remains...
Seriously though: who did Soleil sleep with to still be around?
This is one of those songs that I slightly underscored (even mentioned it in the commentary).
The production is really good, even slightly interesting and Dalida's dramatic vocals are there, which is enough to gather new fans.
Listening to it now, it's a 9 without any doubt. Glad that it got an 11.
The production is really good, even slightly interesting and Dalida's dramatic vocals are there, which is enough to gather new fans.
Listening to it now, it's a 9 without any doubt. Glad that it got an 11.
oh, damn. well, I'm glad it was able to make the top 15 at any rate.
being a complete newbie to Dalida, I really had no idea which were the fan faves when rating, so this whole rate has been a bit of a rollercoaster for me ddd. thanks for inviting me to participate, @berserkboi; I've discovered a lot of really beautiful songs here that I definitely would have never heard otherwise.
being a complete newbie to Dalida, I really had no idea which were the fan faves when rating, so this whole rate has been a bit of a rollercoaster for me ddd. thanks for inviting me to participate, @berserkboi; I've discovered a lot of really beautiful songs here that I definitely would have never heard otherwise.
He/Him
You are too sweet @vague! Thank you for joining us too - thanks to you this great track got at least one of the 11s it deserved! :D
Hopefully you enjoy the rest of the remaining tracks as we work towards that winner!
He/Him
Time for the obituary?
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#14
Gigi In Paradisco
Average Score: 8.339
Highest Score: 11 x 1 (@WowWowWowWow)
10 x 4 (@soratami @Ana Raquel @Riiiiiiiii @andymc35)
Lowest Score: 4 x 1 (@Empty Shoebox)
#14
Gigi In Paradisco
Average Score: 8.339
Highest Score: 11 x 1 (@WowWowWowWow)
10 x 4 (@soratami @Ana Raquel @Riiiiiiiii @andymc35)
Lowest Score: 4 x 1 (@Empty Shoebox)
We are down another 11 – call the medics!!! This, right here – Gigi In Paradisco is very lucky to have received some late voter love to take it this far as it was due an early exit for a time! Soratami changing his score for it from an 8 to a 10 was also a bit of a godsend otherwise, it was looking at an untimely departure before Gigi L’Amoroso in the Gigi showdown! In fact, the two songs had reverse fortunes, as one ascended and one descended on our leaderboard. Obviously you know my preference would have been for the other Gigi to get further, but I can’t really hate this result since Paradisco is still an 8.9 from me, and I do like it lots – it just isn’t one of my top picks in the greater Dalida ziegiest!
Gigi In Paradisco, in all its Discotastic splendour, is actually where Dalida’s disco era comes to an end! And what a send-off to the era it is! Originally only created as a track to be used in Dalida’s American style concerts, it was eventually edited down from the original 13 minute run time on the show to a bite size 3-4 minute single as the era’s farewell track! France was very taken by it, sending the song to #3 and a GOLD certification.
The parent album of the same name is a bilingual (French and English) release which was launched after the aforementioned American style shows, due to that concert’s legs being incredible successes! The tour lasted 18 nights, and each night was a sell-out. A commercial and critical success, the show was also Dalida’s most physically demanding; and included 12 costume changes and 11 back-up dancers. Dalida performed extensive choreography for the first time in her career (at 47 years old), with the dance routines taught over three months by John Travolta’s Saturday Night Fever choreographer Lester Wilson. She was the first female singer to perform this kind of show at the Palais Des Sports (beautiful venue that has seen concerts by many of the world’s biggest stars, if you are ever in Paris and can visit!) – expanding what the venue was capable of producing at the time.
Gigi In Paradisco (the song) is quite an interesting little tune too! While created for the purposes of the show, it depicts the tragic events of Gigi L’Amoroso’s death and his ascension to heaven (we love a sequel!). While there, our bambino is still the star of the show, and can sing in English like he always wanted (remember he tried to make it in America in the other song)! Dalida asks him to save a little space up there for her that looks as close to Naples as possible, and hey – maybe that’s just where she is!
The simplicity of Gigi In Paradisco leads to it being one of the most reworked and remixed tracks in our star’s repertoire! The bones are so strong and fluid, a tweak here and there can make the whole affair so modern and fun (as Eleni showed us)! Secret time – without our 11 giver @WowWowWowWow reminding me of Gigi In Paradisco’s existence (it was all about Laissez Moi Danser for young Berserky when it came to the Disco era), you may not have seen it on the playlist at all – so thank him twice for the concert insight too!!
I had forgotten how many 7s @Sprockrooster (7) gave overall ddddd, but is that his lowest score left…. #bientôt! - This sounds like a bit trend-chasing for the current music at the time. Not entirely bad, but if I want to listen to disco I am tempted to go the English songs instead. I want my French music for being chansons. @pop3blow2 (8.7) is into it! - French disco has its own little flavor. This is fun. @nnnumb (7.9) tells us about more things Dalida invented! - The backing on this is like an early version of Tribal House.
@WowWowWowWow (11) may be throwing a cliché our way but many a ‘moment’ in pop culture could be thrown back to this Dalida era. For instance - is Madonna’s Confessions Tour a second coming of Dalida’s concert here, discuss! – It’s probably a bit cliché or obvious that I chose this for the 11, but it’s the song I can see myself going back to very often after this rate. Boptastic!!
@Disco Blister (7) is living our fantasy in Technicolor in the 70s kiiii - As a song Gigi A Paradisco is mediocre at best. But as an idea based on Gigi L’Amoroso it’s fabulous, and the performances are so über camp that I’m sure les gays of the time where creaming their pants out of sheer excitement! I sure would’ve been.
@Maki (8) makes it clear where his alliance lies - This is (much) better than "Gigi L’Amoroso" - catchy, fun and enjoyable disco tune. Love the word play and the chorus/hook, as well as the lines in English. I somehow stumbled upon a 12-minute long version of the song, and the first half of it was just an intro to the actual song (which has some great bits). Again, the talking parts are a bit extra.
Gigi In Paradisco, in all its Discotastic splendour, is actually where Dalida’s disco era comes to an end! And what a send-off to the era it is! Originally only created as a track to be used in Dalida’s American style concerts, it was eventually edited down from the original 13 minute run time on the show to a bite size 3-4 minute single as the era’s farewell track! France was very taken by it, sending the song to #3 and a GOLD certification.
The parent album of the same name is a bilingual (French and English) release which was launched after the aforementioned American style shows, due to that concert’s legs being incredible successes! The tour lasted 18 nights, and each night was a sell-out. A commercial and critical success, the show was also Dalida’s most physically demanding; and included 12 costume changes and 11 back-up dancers. Dalida performed extensive choreography for the first time in her career (at 47 years old), with the dance routines taught over three months by John Travolta’s Saturday Night Fever choreographer Lester Wilson. She was the first female singer to perform this kind of show at the Palais Des Sports (beautiful venue that has seen concerts by many of the world’s biggest stars, if you are ever in Paris and can visit!) – expanding what the venue was capable of producing at the time.
Gigi In Paradisco (the song) is quite an interesting little tune too! While created for the purposes of the show, it depicts the tragic events of Gigi L’Amoroso’s death and his ascension to heaven (we love a sequel!). While there, our bambino is still the star of the show, and can sing in English like he always wanted (remember he tried to make it in America in the other song)! Dalida asks him to save a little space up there for her that looks as close to Naples as possible, and hey – maybe that’s just where she is!
The simplicity of Gigi In Paradisco leads to it being one of the most reworked and remixed tracks in our star’s repertoire! The bones are so strong and fluid, a tweak here and there can make the whole affair so modern and fun (as Eleni showed us)! Secret time – without our 11 giver @WowWowWowWow reminding me of Gigi In Paradisco’s existence (it was all about Laissez Moi Danser for young Berserky when it came to the Disco era), you may not have seen it on the playlist at all – so thank him twice for the concert insight too!!
I had forgotten how many 7s @Sprockrooster (7) gave overall ddddd, but is that his lowest score left…. #bientôt! - This sounds like a bit trend-chasing for the current music at the time. Not entirely bad, but if I want to listen to disco I am tempted to go the English songs instead. I want my French music for being chansons. @pop3blow2 (8.7) is into it! - French disco has its own little flavor. This is fun. @nnnumb (7.9) tells us about more things Dalida invented! - The backing on this is like an early version of Tribal House.
@WowWowWowWow (11) may be throwing a cliché our way but many a ‘moment’ in pop culture could be thrown back to this Dalida era. For instance - is Madonna’s Confessions Tour a second coming of Dalida’s concert here, discuss! – It’s probably a bit cliché or obvious that I chose this for the 11, but it’s the song I can see myself going back to very often after this rate. Boptastic!!
@Disco Blister (7) is living our fantasy in Technicolor in the 70s kiiii - As a song Gigi A Paradisco is mediocre at best. But as an idea based on Gigi L’Amoroso it’s fabulous, and the performances are so über camp that I’m sure les gays of the time where creaming their pants out of sheer excitement! I sure would’ve been.
@Maki (8) makes it clear where his alliance lies - This is (much) better than "Gigi L’Amoroso" - catchy, fun and enjoyable disco tune. Love the word play and the chorus/hook, as well as the lines in English. I somehow stumbled upon a 12-minute long version of the song, and the first half of it was just an intro to the actual song (which has some great bits). Again, the talking parts are a bit extra.
The Whole Affair!
The Eleni cut - does she have the potential to be the new Dalida? Discuss!
The Eleni cut - does she have the potential to be the new Dalida? Discuss!
D
Deleted member 29256
My first 10 :(
Can Laissez Mon Danser fuck off already. This is getting ridiculous
she/her
why isn't it in the top 5 though???
he/him
Clearly not hahahaha
I'm pretty surprised by the gap between two 'Gigi's' eliminations.
I mean, the second part is better and the disco sound will surely get more regocnition on this forum, but more than 10 places higher is quite a difference. Though that it would leave around the same time as "Gigi L'Amoroso", but am glad it lasted longer than that.
Still, I'm not bothered with this elimination. I find it a bit odd that "Ciao Amore Ciao" and "Kalimba De Luna" are still in, considering some of the earlier eliminations.
I mean, the second part is better and the disco sound will surely get more regocnition on this forum, but more than 10 places higher is quite a difference. Though that it would leave around the same time as "Gigi L'Amoroso", but am glad it lasted longer than that.
Still, I'm not bothered with this elimination. I find it a bit odd that "Ciao Amore Ciao" and "Kalimba De Luna" are still in, considering some of the earlier eliminations.
He/Him
From the rivers of Babylon...........
#13
Kalimba De Luna
Average Score: 8.407
Highest Score: 10 x 1 (@vague) 9.6 (Le Berserky)
Lowest Score: 6 x 1 (@Empty Shoebox)
#13
Kalimba De Luna
Average Score: 8.407
Highest Score: 10 x 1 (@vague) 9.6 (Le Berserky)
Lowest Score: 6 x 1 (@Empty Shoebox)
On we go to a recent re-discovery for Le Berserky (that has surprisingly lasted a fair while longer than I expected)! Unfortunately this is also yet another 10 Vague loses after doing really well not losing any til Gondolier at #20 – don’t despair though, our wonderful Vague has a pretty high voter average thus still has a few high scores left! The only 10 too for Kalimba, yet it still makes #13? T A L E N T!
Back to Le Berserky before he was old and grey! I absolutely loved and got my life to Kalimba De Luna as a child from that hypnotic and entrancing first note (seriously Malavasi’s work here is excellent - what an immediate instrumental!) In fact, for years I had been trying to remember which Dalida track it was that I loved as a child, yet never heard my mother play as a teenager. I kept describing to my mother that it went “Ey! Oh! Ooh! Ah!!” to no avail, and she just dismissed me, thinking I was being an idiot! (HA! Jokes on you, Mum – the song does exist! Ddddd) Admittedly that description was very silly but oh so catchy! (Let’s invite back @iheartpoptarts to bask in the fun!) Let’s also invite @Filippa along since she singled this out as a track she knew the original of, I am guessing she danced along to it as a child like I did!
Dalida’s take on Kalimba De Luna (localised for French markets) was released in the last quarter of 1984 to mild success making #14 in France and #13 in Monaco on the Singles Chart. It was however a bigger hit on French Radio and received a fair amount of TV promotion along with the frequent airplay. Adapted from the Tony Esposito/Gianluigi Di Franco original released earlier the same year (#6 Switzerland and #14 Italy) – we are looking at a straight forward dance record from the 80s era sonically (NO ONE BUT ME SUBMITS ANY VERSION TO PJRETRO, K THX), which has potential to be divisive. However the PopJustice consensus seems positive considering the many tracks Kalimba beat to get to the (un)lucky #13 finish.
Dalida’s version of Kalimba De Luna was her last “dance” release in her lifetime (third last overall, also her latest release [while alive] out of the song list). Kalimba was only the last single of hers for which she performed a dance routine whilst promoting the track on TV. The choreography performed with the sinister dancers and creepy masks is so wonderfully bizarre and fabulous (looking like the spirits from Spirited Away) that I have no choice but to invite @Russron for discourse. The visual does go well with the lyrics that speak of being entranced and hypnotised by the moon as its power takes over your body and making you dance, and despite the overall strangeness – we can call it a fully realised campaign.
Now, this was not quite a total 10 for me with 2019 ears due to the competition Kalimba had against some incontestable greatness (I was already going into overdrive with the many 10s I handed out and had to stop somewhere) but it is still an immensely pleasant listen through and through! So much so, when it comes to promoting Dalida to a new generation Kalimba De Luna was selected with a new dance mix in English, which was issued in 2010 (linked below)!
@əʊæ (9) seems to now a different version from what's here? Dddd - ayyy kalimba da luna, the night we fell underzzzzzzsorry, where were we? @Ana Raquel (9.5) continues to lose high scores, poor Brazil! - I love this name!!! @Maki (8) is happy we explore yet another aspect of Dalida's diverse repertoire - Perhaps the most interesting song in the rate and I'm into it. I know it's a cover, but a really good one. Love the exotic instrumental - a little bit of everything.
@pop3blow2 (8.6) is finding out there is a lot of strangeness we owe the 80s - What is this? Ha! This is oddly hypnotic. @Disco Blister (8) is undecided as to which side of 'great' this falls under - I’ve never really looked much into Dalida’s 80’s catalogue, probably to avoid stuff like this lol. That said watching this is so bizarre in all its glory, that I can’t decide if it’s absolutely crapulous or fabulous. Probably both. This might become a guilty pleasure.
@WowWowWowWow (8), being a Dance Dictionnaire mentions another version to enjoy? Though I am not sure whether this means the Dalida version is better? – Boney M found drowned in the rivers of Babylon! @Sprockrooster (8) is back to giving more than a 7 - Yeeeeeeeaaahhh!! - The French equivalent of a basic bop. But I stan those in English, so I am sure as hell stanning now.
Back to Le Berserky before he was old and grey! I absolutely loved and got my life to Kalimba De Luna as a child from that hypnotic and entrancing first note (seriously Malavasi’s work here is excellent - what an immediate instrumental!) In fact, for years I had been trying to remember which Dalida track it was that I loved as a child, yet never heard my mother play as a teenager. I kept describing to my mother that it went “Ey! Oh! Ooh! Ah!!” to no avail, and she just dismissed me, thinking I was being an idiot! (HA! Jokes on you, Mum – the song does exist! Ddddd) Admittedly that description was very silly but oh so catchy! (Let’s invite back @iheartpoptarts to bask in the fun!) Let’s also invite @Filippa along since she singled this out as a track she knew the original of, I am guessing she danced along to it as a child like I did!
Dalida’s take on Kalimba De Luna (localised for French markets) was released in the last quarter of 1984 to mild success making #14 in France and #13 in Monaco on the Singles Chart. It was however a bigger hit on French Radio and received a fair amount of TV promotion along with the frequent airplay. Adapted from the Tony Esposito/Gianluigi Di Franco original released earlier the same year (#6 Switzerland and #14 Italy) – we are looking at a straight forward dance record from the 80s era sonically (
Dalida’s version of Kalimba De Luna was her last “dance” release in her lifetime (third last overall, also her latest release [while alive] out of the song list). Kalimba was only the last single of hers for which she performed a dance routine whilst promoting the track on TV. The choreography performed with the sinister dancers and creepy masks is so wonderfully bizarre and fabulous (looking like the spirits from Spirited Away) that I have no choice but to invite @Russron for discourse. The visual does go well with the lyrics that speak of being entranced and hypnotised by the moon as its power takes over your body and making you dance, and despite the overall strangeness – we can call it a fully realised campaign.
Now, this was not quite a total 10 for me with 2019 ears due to the competition Kalimba had against some incontestable greatness (I was already going into overdrive with the many 10s I handed out and had to stop somewhere) but it is still an immensely pleasant listen through and through! So much so, when it comes to promoting Dalida to a new generation Kalimba De Luna was selected with a new dance mix in English, which was issued in 2010 (linked below)!
@əʊæ (9) seems to now a different version from what's here? Dddd - ayyy kalimba da luna, the night we fell underzzzzzzsorry, where were we? @Ana Raquel (9.5) continues to lose high scores, poor Brazil! - I love this name!!! @Maki (8) is happy we explore yet another aspect of Dalida's diverse repertoire - Perhaps the most interesting song in the rate and I'm into it. I know it's a cover, but a really good one. Love the exotic instrumental - a little bit of everything.
@pop3blow2 (8.6) is finding out there is a lot of strangeness we owe the 80s - What is this? Ha! This is oddly hypnotic. @Disco Blister (8) is undecided as to which side of 'great' this falls under - I’ve never really looked much into Dalida’s 80’s catalogue, probably to avoid stuff like this lol. That said watching this is so bizarre in all its glory, that I can’t decide if it’s absolutely crapulous or fabulous. Probably both. This might become a guilty pleasure.
@WowWowWowWow (8), being a Dance Dictionnaire mentions another version to enjoy? Though I am not sure whether this means the Dalida version is better? – Boney M found drowned in the rivers of Babylon! @Sprockrooster (8) is back to giving more than a 7 - Yeeeeeeeaaahhh!! - The French equivalent of a basic bop. But I stan those in English, so I am sure as hell stanning now.
That entrancing performance
The 2010 Mix - Can You Say Suavemente by Nayer?
The 2010 Mix - Can You Say Suavemente by Nayer?
she/her
Ddd I was just referencing the iconic top 10 rated by PJ forum Belinda hit La Luna. I seem to break out into the chorus whenever I see the damn word. The catchiness that that has!
Just as I mentioned at being positively surprised about "Kalimba De Luna" still being in. I thought it would've been much more divisive, and I'm glad it isn't.
It's not one of my favorites from the remaining tracks, but it is a standout in terms of sound and it's impressive that it managed to get here with only one 10.
It's not one of my favorites from the remaining tracks, but it is a standout in terms of sound and it's impressive that it managed to get here with only one 10.
He/Him
Only two songs to lose til Top 10..........
#12
Ciao Amore Ciao
Average Score: 8.425
Highest Score: 10 x 4 (@Disco Blister @andymc35 @Sprockrooster @əʊæ)
Lowest Score: 4 x 1 (@Empty Shoebox)
#12
Ciao Amore Ciao
Average Score: 8.425
Highest Score: 10 x 4 (@Disco Blister @andymc35 @Sprockrooster @əʊæ)
Lowest Score: 4 x 1 (@Empty Shoebox)
We get to the hardest song to discuss on our little list for your host! Frankly (performance wise), Ciao Amore Ciao did a lot better than I anticipated it would here. Initially I assumed the repetition of the title throughout the song would work against it when the votes started coming in since that was happening to Darla Dirladada (and we lost that ages ago). However it seems Dalida delivering one of the most impressive vocals of the playlist was something to set it apart from other tracks with a similar structure.
The reason it is difficult to discuss Ciao Amore Ciao, as you know isn’t anything to do with the song’s content, rather the difficulty lies around the history and fallout it caused. Ciao Amore Ciao was written and composed by Luigi Tenco (Italian musician and Dalida’s lover at the time) to compete in 1967 in the San Remo Festival. Both Luigi and Dalida performed the song at the festival, one after another but due to stage jitters and heavy drinking - Luigi’s performance was poorly received. Dalida went next, and although she performed the track better – Ciao Amore Ciao did not progress to the next stage.
Luigi is heartbroken at this result, retires to his hotel room and commits suicide a few hours later. Dalida (along with two members of her entourage) find the body to their horror. Dalida herself is so distraught by what’s happened, she tries to commit suicide a few days later. This attempt leaves her in a coma for three months, and once she recovers Dalida makes a conscious decision to honour Luigi in selecting music that has more weight to it – starting her off on the heartbreaking and existential ballads she becomes celebrated for by a great many of us.
Ciao Amore Ciao also becomes a fixture at Dalida’s concerts for the next 6 years, usually performed as the encore until Gigi L’Amoroso comes into existence. Ciao Amore Ciao was recorded in French, Italian and German and released in each market a day prior to the San Remo Festival. Though remembered in France also, I can only find chart information for it in Italy at a #5 peak. I’d wager it was most impactful on the charts in Luigi’s country of origin as the track could serve as a dedication to a great artist that country lost on that day.
Ciao Amore Ciao was a 9.2 from me, truly though I could have scored it higher because it is a beautiful song through and through, and showed how much promise Luigi had, even as he explores a poppier sound than the rest of his material. Written for the purposes of San Remo, there was a sense that Luigi wasn’t a huge fan of the song (due to how commercial it sounds) nor was he prepared for the stardom that came with dating Dalida. Unfortunately we all know where that led but at least a small part of his legacy in Ciao Amore Ciao is fondly thought of at PopJustice which is lovely! Dalida was a big fan of the song and it is easy to see why – though made with Luigi and her in mind, there is no doubt the track suits her singing style more. Her take, which is more theatrical and dramatic, captures that despair of wanting to be loved perfectly. Further to this, it allowed her to honour who many think to have been the love of her life, for the rest of hers.
@əʊæ (10) is singing the praises of Dalida and her inventing Gods & Monsters - I stanned Lana rhyming ciao amore with Salvatore, so of course I have to stan this. @Sprockrooster (10) is another big fan here, and what a vocal too! - I am chanting along loudly with that chorus and I could not care less if someone hears me cringe screeching to this. A moment every damn time.
@Maki (7.75) gives you a thoughtful review of the overall sound - Not too keen on the verses, but the chorus really lifts it up. I know it's repetitive, but it's effective. And those bits after the chorus are lovely. @pop3blow2 (9.5) still sees Gondolier here, and I’ll just add JUSTICE FOR GONDOLIER!! - This reminds me a bit of some Petula Clark of the era…. production & such. Just that ‘big 60’s’ sound.
@Disco Blister (10) gives you a more concise breakdown of why I found this one challenging too, we are in sync again my dear! - I can’t think about Ciao Amore Ciao without thinking about San Remo 1967. Dalida and her fiancé Luigi Tenco both performing this song there, Tenco then shooting himself to death and Dalida finding his body in the hotel room. And Dalida then trying to kill herself for the first time the following month and only narrowly surviving after being in a coma for a couple of weeks. It’s a great song, but yeah. It stands for those events.
The reason it is difficult to discuss Ciao Amore Ciao, as you know isn’t anything to do with the song’s content, rather the difficulty lies around the history and fallout it caused. Ciao Amore Ciao was written and composed by Luigi Tenco (Italian musician and Dalida’s lover at the time) to compete in 1967 in the San Remo Festival. Both Luigi and Dalida performed the song at the festival, one after another but due to stage jitters and heavy drinking - Luigi’s performance was poorly received. Dalida went next, and although she performed the track better – Ciao Amore Ciao did not progress to the next stage.
Luigi is heartbroken at this result, retires to his hotel room and commits suicide a few hours later. Dalida (along with two members of her entourage) find the body to their horror. Dalida herself is so distraught by what’s happened, she tries to commit suicide a few days later. This attempt leaves her in a coma for three months, and once she recovers Dalida makes a conscious decision to honour Luigi in selecting music that has more weight to it – starting her off on the heartbreaking and existential ballads she becomes celebrated for by a great many of us.
Ciao Amore Ciao also becomes a fixture at Dalida’s concerts for the next 6 years, usually performed as the encore until Gigi L’Amoroso comes into existence. Ciao Amore Ciao was recorded in French, Italian and German and released in each market a day prior to the San Remo Festival. Though remembered in France also, I can only find chart information for it in Italy at a #5 peak. I’d wager it was most impactful on the charts in Luigi’s country of origin as the track could serve as a dedication to a great artist that country lost on that day.
Ciao Amore Ciao was a 9.2 from me, truly though I could have scored it higher because it is a beautiful song through and through, and showed how much promise Luigi had, even as he explores a poppier sound than the rest of his material. Written for the purposes of San Remo, there was a sense that Luigi wasn’t a huge fan of the song (due to how commercial it sounds) nor was he prepared for the stardom that came with dating Dalida. Unfortunately we all know where that led but at least a small part of his legacy in Ciao Amore Ciao is fondly thought of at PopJustice which is lovely! Dalida was a big fan of the song and it is easy to see why – though made with Luigi and her in mind, there is no doubt the track suits her singing style more. Her take, which is more theatrical and dramatic, captures that despair of wanting to be loved perfectly. Further to this, it allowed her to honour who many think to have been the love of her life, for the rest of hers.
@əʊæ (10) is singing the praises of Dalida and her inventing Gods & Monsters - I stanned Lana rhyming ciao amore with Salvatore, so of course I have to stan this. @Sprockrooster (10) is another big fan here, and what a vocal too! - I am chanting along loudly with that chorus and I could not care less if someone hears me cringe screeching to this. A moment every damn time.
@Maki (7.75) gives you a thoughtful review of the overall sound - Not too keen on the verses, but the chorus really lifts it up. I know it's repetitive, but it's effective. And those bits after the chorus are lovely. @pop3blow2 (9.5) still sees Gondolier here, and I’ll just add JUSTICE FOR GONDOLIER!! - This reminds me a bit of some Petula Clark of the era…. production & such. Just that ‘big 60’s’ sound.
@Disco Blister (10) gives you a more concise breakdown of why I found this one challenging too, we are in sync again my dear! - I can’t think about Ciao Amore Ciao without thinking about San Remo 1967. Dalida and her fiancé Luigi Tenco both performing this song there, Tenco then shooting himself to death and Dalida finding his body in the hotel room. And Dalida then trying to kill herself for the first time the following month and only narrowly surviving after being in a coma for a couple of weeks. It’s a great song, but yeah. It stands for those events.