With its catchy high-pitched melody line and dramatic piano arrangements, Je rêve d'un monde is pure Polnareff (in the best sense of the term!) and the single looks certain to herald the singer's comeback in style. Polnareff's comeback has already been announced – not to say much-hyped – in the French media, journalists getting extremely excited at the idea of Polnareff's forthcoming album which is due for release this autumn or, then again, maybe this winter. (Let's not forget that Polnareff is a manic perfectionist, notorious for taking his time in the studio and missing record company deadlines!)

Polnareff, currently living in Los Angeles (where he likes to keep a relatively low profile), keeps in touch with his homeland via the Internet, where fans can access his frequently up-dated website http://www.polnaweb.com/. Following the release of his new single Je rêve d'un monde, Michel Polnareff also deigned to give a few (rare) interviews by phone. RFI was lucky enough to scoop a few prize comments from France's most famous exile.

So, Michel, first things first. Where exactly are you at with your new album?
Well, if you consider that a CD album generally weighs in at 74 minutes, let's just say that I've got enough songs to fill a double album! So, right now I'm busy going through a rigorous selection process. The problem is, choosing which songs to use is actually more difficult than recording them in the first place!

But what stage is the album at right now? Are you still in the process of recording it or is the album at the mixing stage by now?
Well, there's a bit of recording and mixing going on right now. The thing is, I like hopping about from one track to the next.

How do you go about writing your songs?
I always compose the music first. When I first start experimenting with a tune I tend to sing any old words over the top. Then, when I've finished the music, I work on the lyrics, trying to make them sound as right as the 'nonsense' words I originally made up – while concentrating on the meaning at the same time, of course!

Does it take you a long time to write your lyrics?
 It takes a while to think about the lyrics, but then something clicks and they just come gushing out.

Do you use the same technique with your music?
No, when I write music the whole process is much more spontaneous.

Have you finished writing all the lyrics for your new album now? 
No, not quite.

And does that make you feel a bit anxious?
Reasonably anxious, yes.

Would you say that as a songwriter and composer you've always had confidence in yourself?
Well, for me writing, in fact, the entire creative process is always based on doubt. But once I actually finish recording an album, my doubts disappear.

But you're confident of your basic music know-how?
Well, I've never stuck to any kind of 'formula'. On the contrary, I always try to take risks with what I'm doing – in fact, I couldn't envisage working in any other way! I'm not interested in so-called 'professionalism', in making changes to my albums just to ensure they sell.

Are you worried about getting your album finished on time?
No, if that means the album ends up being better quality, then no, not at all! But I am actually hoping that I'll be able to meet my October/November deadline. … I guess it's OK being under a bit of pressure, but only so long as that pressure has a positive effect on the work. … No, seriously, I really think I will finish the new album on time.

You've gone almost ten years without releasing a new album. Don't you think that's a bit of a long gap between albums?
No. You have to realise that during all this time I've been living with my new songs – the songs I've been working on, the songs I've been getting excited about, the songs I've decided I don't like any more and the songs I eventually get round to recording. … The way I see it, there's no golden rule to say how long a singer should go between albums, or how many albums he should put out in the course of his career! What's important is that when you do release an album, it should be an album which totally transports your fans.

So all this time we haven't heard from you, you've been busy writing away?
Sometimes you have to take a break, you know, go away and do something different for a while. The way I see it, what counts is not recording a certain number of albums in your career, but making sure that the albums you do put out are the best you have to offer. Even Live at the Roxy - which was a collection of my greatest hits - was an important challenge for me, because I actually ended up reworking all my old material on that album.

Do you ever sit down and listen to your old albums?
No, hardly ever. But when I do I'm generally pretty happy with the choices I made on each one. I mean, I'm happy with the choices I made as to which songs I left on the albums and which songs I threw out. I spend an enormous amount of time recording, you know, but I end up throwing a lot material away, because you can't just record songs to please yourself. You have to take other people into consideration too! The problem is, I often have the impression that I wrote such and such a song for myself. I feel really, really happy when I finish recording it. But then I end up throwing it away because I feel the song wasn't written with my fans in mind and they won't enjoy it.

What do you do with the songs you don't use? Do you throw them in the bin or keep them in a drawer to take out at a later date?
I throw them straight in the bin.

But every now and then bits of the songs you've thrown away must end up working their way into other material … 
Of course. In fact, I'm pretty sure that someone's been going through my dustbin, fishing out odds and ends! I know someone once found a recording of La Poupée qui fait non, the song I recorded in Amsterdam with Jimi Hendrix.

Would you like to see old recordings like this – material which in the jazz world is referred to as 'alternate takes' – gathered together and released on an album?
Sure. Why not? But the question's never really come up.

Were you surprised by the success your album Live at the Roxy had in France?
Well, the album stayed at n°1 for several weeks, but I can't say I was particularly surprised by that. My fans have been incredibly loyal over the years, and I've always been aware of that. I guess it was a bit surprising that Live at the Roxy was such a huge hit when you consider that everyone knew the songs on it already. Actually, I think my fans were particularly interested in the album because they wanted to find out if my voice was still intact after my operation. Basically, my fans showed incredible loyalty to me – but then I think I deserve that kind of loyalty considering that I have such enormous respect for them!

Do you feel confident that there's a public out there for your new album?
Yes, very much so. I couldn't have gone into the studio otherwise! These days I'm much more interested in doing things to please other people, than doing things for myself. If I didn't feel that my fans were out there waiting for this new album, then I don't think I'd have had the strength to go ahead with it.

Have you ever been tempted to give up your music career?
Yes, I'm constantly tempted to do so. But then I guess that's a pretty normal kind of fantasy, imagining that one day I'll stop and be totally free. The temptation's always there, but actually the feeling never lasts for long!

When do you feel tempted to quit?
Oh, you know, all those times you ask yourself what you're doing with your life and why. But that's generally when other things take over – when I look outside myself and consider things from a more altruistic perspective. I feel I have to keep going for my fans, for everyone out there who needs me. You know, when I look at the messages fans send me on my website and see the enormous expectation surrounding the new album, well, that gives me the strength and the motivation to go on with it.

You're famous for fighting with your record companies. In fact, your battles with various record companies have acquired legendary status…
The thing is, I love music and I love my fans – but I seem to have a bit of a problem with anything that comes between the two. Record companies are a funny business, you know, they're like these strange invisible powers – even for the people who actually work there! They're full of office politics, intrigues and other problems ... I understand how the whole thing works now, but I think it's a bit 'old-fashioned' to have disputes with your record company these days! I can honestly say that right now I have absolutely no problem with my record company whatsoever.

So why did you have so many disputes in the past?
I think record companies always have problems – that's an integral part of being a record company! And I guess I've always had a reputation for being a rebel, for stirring things up. I don't think that reputation's always been completely justified though. I just like imposing my ideas, defending my own point of view. But these kinds of dispute always end up being completely disastrous … As I said before, my days of fighting battles with record companies are well and truly over.

Are you a fan of samplers and other forms of new musical technology?
Yes, of course. My new single Je rêve d'un monde is actually quite 'purist' but the other tracks on the album use a lot of samplers and stuff. I love new technology and I've always been eager to use any new 'gadgets' that come on the market. Don't get me wrong, I'm not a big John Cage fan, but I do agree with the idea that everything is a form of music. I like the idea of incorporating everyday sounds into music. When I'm working with samplers and other machines, though, I like to keep a human side, rather than getting pulled into producing cold, robotic sounds.

Do you like tinkering about with machines, taking them apart then putting them back together again?
 I don't really have the time for all that right now. As I'm in the middle of recording the new album I have to concentrate all my energy on that. Anyway, I have someone who takes care of programming the samplers and other machines. I'd say I'm basically more interested in using machines than pulling them apart and analysing everything.

Do you spend a lot of time working?
 It's hard to say really. I mean, I work all the time but the number of hours I actually spend in the studio varies. Sometimes, an idea will hit me just as I'm coming out of the studio and so I turn round and rush straight back in again. I don't believe in spending hours in the studio, though, unless I'm actually doing something useful with my time.

Do you miss France?
Yes, I miss France when I'm there.

Do you think that France has changed at all – do you find that when you come back here it's no longer the country you knew and loved?
The world is getting smaller and smaller, you know. I mean, the famous 'gulf' between France and America - the idea of the two countries being totally divided by the Atlantic – is no longer what it was. And I feel that's a bit of a shame, really.

And yet you've chosen to live in the USA …
I'm not a fan of standardisation – I like the idea of each country preserving its own identity, its own culture. As far as my own personal case is concerned, I'm quite happy to be part of French culture, but I also enjoy living in the States and working with the musicians I love.

Do you keep in touch with France?
Yes, I stay in touch with what's happening in France via my computer screen – I'm a huge Internet fan! And I've also got plans to do a few concerts in France some time in the future.

Michel Polnareff Je rêve d'un monde SONY