Bonnie And Clyde (Remaster) Serge Gainsbourg & Brigitte Bardot

• 1 Bonnie And Clyde 04:16
• 2 Bubble Gum 01:45
• 3 Comic Strip 02:10
• 4 Un jour comme un autre 02:21
• 5 Pauvre Lola 02:28
• 6 L'eau à la bouche 02:30
• 7 La javanaise 02:30
• 8 La madrague 02:33
• 9 Intoxicated Man 02:37
• 10 Everybody Loves My Baby 02:11
• 11 Baudelaire 02:27
• 12 Docteur Jekyll et monsieur Hyde 01:56
• Total Runtime 29:44

Info for Bonnie And Clyde (Remaster)

Serge and Bardot Together on this Great High-Res-Reissue. First time available in 24bit high-resolution audio. Digitally Remastered from the original analog mastertapes.

„Bonnie and Clyde isn't actually a full-fledged collaboration between Serge Gainsbourg and Brigitte Bardot; during their storied mid-'60s fling the two French cultural icons recorded just a handful of tracks together, only a couple of which appear here. Nevertheless, this is a worthwhile collection. In addition to the pair's 'Bonnie and Clyde' and 'Comic Strip,' this album features earlier Gainsbourg numbers, as well as Bardot recordings of compositions by Gainsbourg and others. The moody title track alone justifies the price of admission. Bardot's vocals inject a wistful melodic dimension into Gainsbourg's sung-spoken account of the ill-fated gangsters, producing one of pop music's great duets. Gainsbourg was enthralled by American pop culture and the cabaret-style 'Comic Strip' memorably exemplifies that orientation. His lyrics lure Bardot into his cartoon world and she provides the requisite onomatopoeic interjections ('Shebam! Pow! Blop! Wizz!'). In a similarly American vein, on 'Bubble Gum,' a Gainsbourg-penned Bardot single, she sings about love and candy over a plinky-plonk saloon piano evoking the silent film era. Elsewhere, Gainsbourg's Hollywood fascination takes a B-Movie turn, the camp 'Docteur Jekyll et Monsieur Hyde' suggesting the Monks at the Eurovision Song Contest. There was always more to Gainsbourg's work than his love of Americana, though, and his incorporation of Afro-Caribbean rhythms was especially striking: 'Pauvre Lola,' for instance, percolates with an infectious beat. Despite much of this material's playful character, listeners also glimpse another side of Gainsbourg. During his career, he sang about Harley motorcycles and incest and composed a song that involved simulated farting, but he was also deeply cultured. In that vein, 'Baudelaire' places the 19th century poet's 'Le Serpent Qui Danse' in an unlikely tropical lounge setting. Of course, no Gainsbourg collection would be complete without a nod to his dissolute side, and 'Intoxicated Man' fits the bill with its appropriately louche, swaggering groove.“

Serge Gainsbourg, vocals
Brigitte Bardot, vocals

Digitally remastered

Serge Gainsbourg
was the dirty old man of popular music; a French singer/songwriter and provocateur notorious for his voracious appetite for alcohol, cigarettes, and women, his scandalous, taboo-shattering output made him a legend in Europe but only a cult figure in America, where his lone hit "Je T'Aime...Moi Non Plus" stalled on the pop charts — fittingly enough — at number 69.

Born Lucien Ginzberg in Paris on April 2, 1928, his parents were Russian Jews who fled to France following the events of the 1917 Bolshevik uprising. After studying art and teaching, he turned to painting before working as a bar pianist on the local cabaret circuit. Soon he was tapped to join the cast of the musical Milord L'Arsoille, where he reluctantly assumed a singing role; self-conscious about his rather homely appearance, Gainsbourg initially wanted only to carve out a niche as a composer and producer, not as a performer.

Still, he made his recording debut in 1958 with the album Du Chant a la Une; while strong efforts like 1961's L'Etonnant Serge Gainsbourg and 1964's Gainsbourg Confidentiel followed, his jazz-inflected solo work performed poorly on the charts, although compositions for vocalists ranging from Petula Clark to Juliette Greco to Dionne Warwick proved much more successful. In the late '60s, he befriended the actress Brigitte Bardot, and later became her lover; with Bardot as his muse, Gainsbourg's lushly arranged music suddenly became erotic and delirious, and together, they performed a series of duets — including "Bonnie and Clyde," "Harley Davidson," and "Comic Strip" — celebrating pop culture icons.

Gainsbourg's affair with Bardot was brief, but its effects were irrevocable: after he became involved with constant companion Jane Birkin, they recorded the 1969 duet "Je T'Aime...Moi Non Plus," a song he originally penned for Bardot complete with steamy lyrics and explicit heavy breathing. Although banned in many corners of the globe, it reached the top of the charts throughout Europe, and grew in stature to become an underground classic later covered by performers ranging from Donna Summer to Ray Conniff.

Gainsbourg returned in 1971 with Histoire de Melody Nelson, a dark, complex song cycle which signalled his increasing alienation from modern culture: drugs, disease, suicide and misanthropy became thematic fixtures of his work, which grew more esoteric, inflammatory, and outrageous with each passing release. Although Gainsbourg never again reached the commercial success of his late-'60s peak, he remained an imposing and controversial figure throughout Europe, where he was both vilified and celebrated for his shocking behavior, which included burning 500 francs on a live television broadcast and recording a reggae version of the sacred "La Marseillaise."

Gainsbourg also created a furor with the single "Lemon Incest," a duet with his daughter, the actress Charlotte Gainsbourg. In addition, he posed in drag for the cover of 1984's Love on the Beat, a collection of songs about male hustlers, and made sexual advances towards Whitney Houston on a live TV broadcast. Along with his pop music oeuvre, Gainsbourg scored a number of films, and also directed and appeared in a handful of features, most notably 1976's Je T'Aime...Moi Non Plus, which starred Birkin and Andy Warhol mainstay Joe Dallesandro. He died on March 2, 1991.

This album contains no booklet.