From 1964-1968 Les Parisiennes, a quartet of pretty-faced posturers with brassy voices, produced some kitschy albums for the Philips label beneath the guidance of pianist and bandleader Claude Bolling. Their brands had been Anne-Marie Royer, Hélène Longuet, Anne Lefébure, and Raymonde Bronstein, also called Beretta. Usually along with a corny trad jazz/pop ensemble with fast banjo, trumpet, tuba, and tailgate trombone, Les Parisiennes would belt out lyrics in specific unison, enunciating obviously. Their other formulation — as well as the mingling of both had not been at all uncommon during the middle-’60s — included pop/rock and roll instrumentation milling out squinky twist-a-go-go accompaniments. Les Parisiennes’ charm was at least partly visible, as evidenced by their brightly pigmented mod clothes and an image applied to the cover of the 1966 EP depicting the four Parisiennes “behind pubs” searching oddly fetching in red-and-white striped “jail”-styled lengthy underwear. The extremities of high camp get this to group’s music suitable for special events needing quick thrills with little if any compound or depth. Their music was partly revived on compact disk in 2005 with Mercury’s Il Fait Trop Beau Pour Travallier, after that on the “best-of” collection by Common in 2006, and in 2007 on an enormous 71-monitor triple-disc edition beneath the auspices of Claude Bolling entitled Les Parisiennes: L’Integrale.