S’il suffisait d’aimer
[continuation]
Usually, after the achievement of a great success in english language, our
"petit quebeicose" (little Quebecer) goes back to her mother
tongue:
French. It's sufficient to think that after the release of her first
album in english language ("Unison") another one in French has
been released ("Dion chante Plamondon"), or that a year after
the great success of "The color of my love" both "Live à
l’Olympia"
(Paris, 1994) and the "French album" par
excellence, that is "D’eux" (1995), have been released;
"D'eux"
established her everywhere, even in the English-speaking Countries.
Well, in the last few years after the true consecration of this artist,
and especially after the huge hit "My heart will go on",
could our Céline contradict herself? No, of course, because a year after the
release of "Let’s talk about love", an album with unreleased
french songs has been published, almost of them written and set to music
by the magic hand of Jean Jacques Goldman: this is "S’il suffisait
d’aimer".
A return to "D’eux"? In a certain sense, I would say yes, even
if in the last one we can feel a Céline more mature and more thoughtful
(if I may use this expression). It's sufficient to compare the covers of
the cd (which are the mirror of the songs of the albums).
In both the covers, Céline stares into space, but on D’eux she turns
her eyes left, and it seems the look of a curious girl, who wants to know
(the blue colour could represent the innocence); on the contrary, on S’il
suffisait d’aimer,
she turns her eyes right and it could mean a change of view... Céline
is a mature woman, thoughtful, but aware of the things she has done and
of the things she will do (and also in this case, we can use the symbology
of the colour).
Well, in this french album, after the mysterious and worrying notes of
"Je crois toi", we listen "Zora sourit", that
seemingly seems to be a banal song, but that reveals an accusation
toward the awful conditions of the woman in certain Countries, then it
follows the song "On ne change pas", which is one of the best
songs of this album, in my opinion, and it contains several references
to Céline's life and experiences (who else could it be that "petite fille
maigre che marche à
Charlemagne inquiete", if not Céline?). After the soul song "Je
chanterais",
we are captured by the wild rhythm of "Terre", that then fades
in the very sweet "En attendant ses pas" and in the wonderful
"Papillon". On the contrary, the next song, "L’abandon",
takes us delicately into an exotic and tribal atmosphere, it's like we
were in a desert island at sunset. "Dans une autre monde" is
like an alarm clock during our nicest dreams, and with its unrestrained
rhythm takes us in another world. "Sur le meme bateau"
seems to be impressive, followed by a blues ballade which wonderfully
melts the two main languages spoken by Céline: this is "Tous les blues
sont ecrits
pour toi". Finally, the song which names the album, that is "S’il
suffisait d’aimer",
which is loaded with an incredible sweetness and with extraordinary
poetries.
Even if "D’eux" remains my favourite album, in "S’il suffisait
d’aimer"
we can appreciate moments of real poetry that can be an accusation ("Zora
sourit"),
biographic and personal ("On ne change pas", "Je
chanterais")
and romantic ("En attendant ses pas", "S’il suffisait
d’aimer",
etc.).
Jean Jacques Goldman proves to be the ingenious writer and musician as
ever, and of course Céline gives us another proof of her infinite skill
in singing and in making her songs an innate part of our soul.
Céline
En attendant tes pas,
Je mets ta musique en sourdine tout bas
Mercì Céline
Please come back soon!!!
We’ll be waiting for you inside our hearts!!!
Usually, after the achievement of a great success in english language, our
"petit quebeicose" (little Quebecer) goes back to her mother
tongue:
French. It's sufficient to think that after the release of her first
album in english language ("Unison") another one in French has
been released ("Dion chante Plamondon"), or that a year after
the great success of "The color of my love" both "Live à
l’Olympia"
(Paris, 1994) and the "French album" par
excellence, that is "D’eux" (1995), have been released;
"D'eux"
established her everywhere, even in the English-speaking Countries.
A return to "D’eux"? In a certain sense, I would say yes, even
if in the last one we can feel a Céline more mature and more thoughtful
(if I may use this expression). It's sufficient to compare the covers of
the cd (which are the mirror of the songs of the albums).
In both the covers, Céline stares into space, but on D’eux she turns
her eyes left, and it seems the look of a curious girl, who wants to know
(the blue colour could represent the innocence); on the contrary, on S’il
suffisait d’aimer,
she turns her eyes right and it could mean a change of view... Céline
is a mature woman, thoughtful, but aware of the things she has done and
of the things she will do (and also in this case, we can use the symbology
of the colour).
Well, in this french album, after the mysterious and worrying notes of
"Je crois toi", we listen "Zora sourit", that
seemingly seems to be a banal song, but that reveals an accusation
toward the awful conditions of the woman in certain Countries, then it
follows the song "On ne change pas", which is one of the best
songs of this album, in my opinion, and it contains several references
to Céline's life and experiences (who else could it be that "petite fille
maigre che marche à
Charlemagne inquiete", if not Céline?). After the soul song "Je
chanterais",
we are captured by the wild rhythm of "Terre", that then fades
in the very sweet "En attendant ses pas" and in the wonderful
"Papillon". On the contrary, the next song, "L’abandon",
takes us delicately into an exotic and tribal atmosphere, it's like we
were in a desert island at sunset. "Dans une autre monde" is
like an alarm clock during our nicest dreams, and with its unrestrained
rhythm takes us in another world. "Sur le meme bateau"
seems to be impressive, followed by a blues ballade which wonderfully
melts the two main languages spoken by Céline: this is "Tous les blues
sont ecrits
pour toi". Finally, the song which names the album, that is "S’il
suffisait d’aimer",
which is loaded with an incredible sweetness and with extraordinary
poetries.