Amour Anarchie

Léo Ferré (Shoed Leo in English)

Léo Ferré is, without doubt, one of the most important figures in French music history. Renowned for his musical compositions, Ferré is also remembered for his astonishing lyrics. Indeed, many would go so far as to call him one of the finest poets of French chanson.

This truly exceptional singer, songwriter and composer changed the face of the French music scene irrevocably. Léo Ferré’s poetry also made a major impact on French literature. As his old friend, the writer and poet Louis Aragon once said - "The literary history of France will have to be re-written a little differently because of the contribution made by Léo Ferré". The same could also be said of French music history.

Ferré gets involved into anarchism and communism

Throughout the early part of his career Ferré had kept out of politics, even during the heyday of the Front Populaire. But from the late 40’s onwards the singer found himself becoming increasingly involved with French political groups. After performing at several concerts organised by the French Anarchist Federation, Ferré decided his real sympathies lay with the French Communist Party and he became increasingly involved with their activities. (Ferré remained a committed communist right up until the end of his life).

In the early 50’s Ferré’s encounter with a young woman called Madeleine, whom he met in a Paris café, was to change the rest of his life. For not only was Madeleine to replace Odette in his life, she also took charge of his career. Shortly after meeting Madeleine, Ferré began writing his famous opera "la Vie d'Artiste", proving his talent as a musical composer. Four years later Ferré would go on to write an oratorio based on the French poet Guillaume Apollinaire’s work " La Chanson du mal-aimé", which was performed at the Monte Carlo Opera House.

By 1953, Léo Ferré’s singing career was going from strength to strength. He was invited to perform as a support act for the American star Josephine Baker, when she performed at the prestigious Paris music-hall, L’Olympia. Ferré then went on to land a recording deal with the Odéon label who soon released his version of "Paris Canaille" (the song which had been a hit for Catherine Sauvage the previous year). Ferré’s personal life was also looking up. The singer moved into a flat on Boulevard Pershing with Madeleine and the daughter from her previous marriage, whom Ferré brought up as his own child. Despite the fact that the couple existed on very little money, this was a particularly happy time in Ferré’s life. The door was always open to friends and the flat on Boulevard Pershing was always filled with visitors. Singer Catherine Sauvage, the actor Pierre Brasseur, Les Frères Jacques and many other stars from the music and theatre world were all regular visitors to Ferré’s home.

Following the immense success of the single "Paris Canaille", Ferré could afford to buy a big house in the country. In March 1955 he returned to the Olympia, but this time as the headlining star. It was on this memorable occasion that the singer performed "l'Homme", "Monsieur William", and "Graine d'Ananar" (all songs which went on to become absolute classics of the Ferré repertoire). At the end of the year Ferré went back into the studio to record eight new songs including the famous "Pauvre Ruteboeuf" and "Le Guinche". He was not surrounded by a group of musicians in the studio, preferring to accompany himself instead on the piano, and the organ.

Ferré's new album also contained the song "l'Amour" - a track which would greatly impress the famous Surrealist poet André Breton. Ferré and Breton went on to become close friends but this relationship came to an abrupt end when, in 1956, Ferré presented Breton with a copy of his work "Poètes...vos papiers". In this collection of poetry and song lyrics (77 texts in all) Ferré took a strong stand against the automatic writing techniques which the Surrealists had employed in their poetry. Breton was most unhappy with Ferré’s stance and, declaring that he did not share the same poetic views as the singer, refused to write a preface to the collection. This argument brought an abrupt end to Breton and Ferré’s friendship, and the pair were not on speaking terms when Breton died in 1966.

In 1956 Ferré devoted all his time and energy to composing "La Nuit", a modern ballet created for choreographer Roland Petit and his troupe, which included spoken texts and songs. Unfortunately, when the ballet was performed at the Théâtre de Paris it was slammed by the critics and the show came to a grinding halt after only four performances.

Ferré was to be caught up in the revolutionary fervour of May 68. Indeed, on May 10th the singer performed at the famous Gala de la Mutualité, organised by the Anarchist federation. Ferré the protest singer became the public symbol of revolutionary zeal and anarchic student demonstrations (although he continued to keep his distance from actual political involvement).

LEO FERRE
AMOUR ANARCHIE
In 1970 Léo Ferré produced a wondrous double album on which some incomparable jewels can be found. Among those are the pop marvel "La 'the nana'", the pulsating "Psaume 51", the pyshedelic opening "Le chien" (killer lyrics included) or the somber minimalist "Le mal", a masterpierce in sobriety. Those into more conventional orchestrations will indulge themselves with "La mémoire et la mer" and the moving, delicate and kind of deranged "Petite" speaking of the impossible love of a middle-aged man and a very young girl-child. Ferré dares it all, as usually, singing with his heart and guts (see "Poète, vos papiers"), writing with a great ease on themes no one but he can cover. There's anger, love, indignation and many more feelings here all mastered with great skills and incomparable strength! Jean-Michel Defaye's arrangements are, as always, wonderful. The whole double album is a must hear, a masterpiece and a great introduction to the peculiar world of Léo Ferré.