Serge Lama

Serge Lama rates being among the most traditionally minded People from france songwriters. His solid, powerful voice, mixed to his extremely extreme and theatrical stage persona, offers often gained him evaluations to Jacques Brel. The name of a publication he has created talks for Lama’s lyricist orientations: Sentiment, Sexe et Solitude (Sense, Sex and Solitude). He previously some strike singles through the past due ’60s and ’70s, probably the most popular one becoming “Je Suis Malade,” and experienced a popularity maximum within the ’80s using the achievement of his musical, Napoléon. Delivered Serge Chauvier in 1943, Lama grew up within a musical atmosphere, his dad having been a lyrical vocalist. Seing him quit his career to place enough food up for grabs is a marking knowledge for Serge, swearing since that time he’d be successful where his dad hadn’t. Writing a whole lot, Lama quickly attempted to find schedules and places to execute and was quite shortly discovered by Barbara herself, who attained regular displays for him in her normal Parisian cabaret, L’Écluse. This is a significant part of Lama’s profession, and he started recording when 1964, launching a debut four-song EP. Factors only improved when he was wanted to open up for Georges Brassens, alongside Barbara, in Bobino that same season. A new one, “Les Ballons Rouges,” arrived in 1965. But tragically, this lightning-fast ascension was ceased by a car crash, costing Lama the increased loss of his partner and departing him crippled, having dropped the usage of the vast majority of his body. Just how he returned to activity in the next months, by using Georges Brassens, certainly put into his aura. He returned to recording when 1967, and since that time, and with the ’70s, developed a writing group made up of Yves Gilbert and Alice Dona for compositions and Jean-Claude Petit for preparations, performing a batch of well-known singles, included in this “Je Suis Malade” and “Les Petites Femmes de Pigalle.” His tracks subjects gained him several attacks, some individuals accusing him of male chauvinism, especially on paths like “Femmes, Femmes, Femmes” and “Superman,” but those episodes couldn’t prevent Lama’s increasing reputation, his concerts appealing to increasingly more viewers. He took time in the first ’80s to create a musical in line with the traditional personality Napoléon Bonaparte (an interesting body to Lama) basically entitled Napoléon. The display encountered massive reputation and critical compliment, crossing France’s edges and growing to Belgium, Switzerland, and also Quebec. Which was the start of a new profession for Lama, who remaining the music business after Napoléon to focus on performing. He finally returned to performing in 1994 using the eponymous recording Lama, and started to record and tour once again with the ’90s and 2000s, having a very much weakened aura, but with a still faithful group of fans. Lama was his just studio recording from the ’90s, though he also released a live recording in 1998, documented at the famous Olympia in Paris having a symphony orchestra. He continuing to spotlight performing within the 2000s, although a trio of reasonably successful albums held him within the music-buying public’s awareness: Feuille ? Feuille (2001), PluriElles (2003) — a disk of duets with well-known feminine artistes — and L’Âge d’Horizons (2008). Hip medical procedures slowed him down briefly, before he bounced back 2012 with La Balade du Poète, a dual CD offering re-recordings of a few of his best-known strikes, and toured once again in 2013 to commemorate both his 70th birthday and an astounding 50 years available.