I was lucky enough to be able to interview her by email about her memoir. Thanks so much to Françoise Hardy and Feral House for this.
Your passion for music and love for your work is clear in this book. You also have a keen respect for the musical engineers who recorded and produced your work. Do you think most of today’s musicians no longer possess that kind of dedication?
Musicians, from yesterday or today, of course, know the vital importance of a good sound engineer, even if young composers and producers have more skills in a recording session. Today I am worried by excessive production. There are so many new singers everywhere, every day. It’s the same thing with books and movies. Too much production kills the artistic elements. As you know, media looks for efficiency rather than for quality. They are only interested in the short term and don’t care enough for timeless melodies.
You mention working with modern figures like Iggy Pop and Damon Albarn and those these were quite positive experiences versus the commercialistic result of the McLaren project. Can you expand on why you connected with these two?
I like and admire Iggy Pop and Damon Albarn very much, and I think that Malcolm McLaren’s album Paris is really great. But, these three collaborations were not significant to our respective careers. For instance, tremendous musicians like Michel Berger and Gabriel Yared have been far, far more important to my work and me as we shared many more connections between their musical world and mine.
Pour pouvoir lire la suite de ce message, participez à la discussion en répondant au sujet