- Audio CD (9 Nov 2009)
- Number of Discs: 2
- Format: CD+DVD
- Label: Republic of Music
- ASIN: B002R5MPRC
- Average Customer Review: 5.0 out of 5 stars See all reviews (5 customer reviews)
- Amazon Bestsellers Rank: 81,513 in Music (See Top 100 in Music)
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Product details
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| Disc: 1 | |||
|---|---|---|---|
| 1. La Foule | |||
| 2. Adieu Mon C'ur | |||
| 3. Une Enfant | |||
| 4. L'Accordéoniste | |||
| 5. Le Brun et le Blond | |||
| 6. Les Grognards | |||
| 7. C'est Toujours la Même Histoire | |||
| 8. Hudsonia | |||
| 9. C'est à Hambourg | |||
| 10. Non, La Vie N'est Pas Triste | |||
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| Disc: 2 | |||
| 1. Le Chant D'Amour (Live) Bonus DVD | |||
| 2. La Foule (Live) Bonus DVD | |||
| 3. Non, La Vie N'est Pas Triste (Live) Bonus DVD | |||
| 4. Adieu Mon C'ur (Live)Bonus DVD | |||
Review On paper, Wainwright is perfect for this project. Ever since her startling eponymous debut in 2006, Wainwright has been a showy performer – her first single a rant to her father called Bloody Mother F****** A******, and her second album telling us her "heart was made for bleeding all over you". Nevertheless, Wainwright's soft, smoky tones can also handle tenderness and vulnerability gorgeously, so apart from Amy Winehouse – a woman who has followed the Piaf self-destruction programme too closely – no one could be better placed deliver these chansons, which couple feistiness and frailty movingly.
But as this album plays, something gets unstuck. Sans Fusils, Ni Souliers, A Paris is undoubtedly an impressive achievement – producer Hal Willner putting together an authentic orchestra of strings, pianos and accordions, while Wainwright blusters and breezes beautifully over the top – but it sounds strangely sanitised. This has little to do with the song choices, which include little-known tracks like Marie Trottoir, a song about the unseemly life of a streetwalker, and Une Enfant, written by Charles Aznavour, about a romantic teenager who ends up dead. It has everything to do with the syrupy arrangements, and a hunch that Wainwright is offering us some brilliant theatre, rather than inhabiting these emotions directly. There is also no menace here – a quality that was always present in Piaf's rough alto – and misty melisma replaces it.
The album should be welcomed for some things, however: bringing the terrifying stomp of Les Grognards (The Old Soldiers) back into currency, and reminding us of the mesmerising loveliness of Adieu Mon Coeur, for starters. Wainwright can also be proud of an adept performance, but she should move on from cover versions quickly. When she is being herself, she is ten times as powerful. --Jude Rogers
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