Album review
Paris
29/11/2002 -
Ten years ago the committed trio who make up La Tordue were making their name as a live group, performing in the street or in small Paris bars around République and Bastille. The group's concerts were packed with energy and ambience – and by midnight you could guarantee the audience of 50-something barflies and 15-year-old rockers would be singing along to La Tordue classics such as Les Mots or Les Bas-Fonds!
La Tordue's story dates back to Paris, 1990, when Benoît Morel, a graphic designer from the Rennes countryside, met up with Pierre Payan and Éric Philippon (aka Fil), two video enthusiasts from Savoie. By October of that year the threesome had teamed up to form their own group and were already supporting Les Têtes Raides in concert. Mixing up their own distinctive rock/acoustic/chanson style the group drew their inspiration from the era of Left Bank cabarets, the '30s and the Spanish War.
La Tordue went on to produce and finance the recording of their debut album themselves in October 1991. Then it was back to a long hard slog on the live scene, touring up and down the country. After putting in a memorable performance when they opened the "Transmusicales" music festival in Rennes in 1993, La Tordue went on to win a subsidy from the "Fonds d'Aide à l'Initiative Rock". And they brought the house down at the "Francofolies" music festival held in La Rochelle in 1994.
Five albums on we decided it was time to catch up with Benoît Morel, the group's singer and songwriter and ask him a few questions about the ups and downs of La Tordue's career and the recording of their new album, Champ libre.

RFI/Musique: Can you cite every single group and singer you use a line from on L’Heureux mix, the opening track on your new album?
Benoît Morel: Souchon, Higelin, Béart, Ferré, Brassens, Couture, Piaf, The Specials, Reggiani, Ibanez, Gainsbourg, Bob Marley, Jane Birkin, Jean-Baptiste Clément, Le Forestier, Escudéro, Nougaro, Marlene Dietrich, The Clash, La Mano Negra, Michel Tonerre, Aragon by Ferré, Perret, The Selectors, Renaud, Jeanette, Mouloudji, Vian, Ronsard, Grace Jones and The B52s! Basically, the song's my own sort of musical tribute. It's a way of handing the mike over to all those who gave me the desire to sing and write my own songs… All those who carried me and forged me and made me what I am today…
What gave you the idea for L’Heureux mix (The Happy Mix)?
Well, basically, what I wanted to experiment with was doing the same thing with song lyrics as DJs and mixmasters have done with samples in music. For a long time I'd been toying with the idea of doing a song about music, and about music in absolutely the broadest sense of the term, not just French music history. Like all the other members of the group I listen to a really wide selection of music, everything from 'world' music to Anglo-Saxon rock and reggae too… I find that in my day-to-day life snatches of song lyrics and melodies are constantly running through my head. Different things tend to pop into your mind according to the situation or conversation you're in. L’Heureux mix popped into my head just as naturally and spontaneously. It was a thoroughly enjoyable songwriting experience!
Personally, I got the impression that with your live album En vie, released in 2001, La Tordue closed a certain chapter…
The existence of the group was totally precarious back then. We honestly didn't know if we'd be able to keep going or not, what with our record label going bankrupt and leaving us high and dry with no cash… Funnily enough, it was the live album which we produced and self-financed ourselves – with, I might add, a great deal of genuine enthusiasm - that got us back on our feet again and renewed our confidence… Honestly, we were really surprised to sit down and listen to ourselves play in public for the first time. I mean, as a group who spend pretty much all our time on stage we were surprised to see that our live work actually stood the test of being transcribed on to record.
That gave us an enormous confidence boost – and it proved to be a real turning-point in our career! It was after the experience of En vie that we turned round and said to ourselves that no matter what happened we absolutely had to keep the same verve and energy we had on the live album when it came to doing our next studio album… And that meant letting ourselves go completely in terms of writing the music and lyrics and performing the songs! To be honest with you, that was something we'd only ever felt on our first album, Les choses de rien…

So your new album, Champ libre, is a way of marking a new chapter in your career with more upbeat, rhythmic tracks like Is God a Dog? and La vie c’est dingue…
Our guiding principle on the new album was to let a little sun and light in, you know, and that's where the swing and the rhythm come from… I think our rhythmic side was something that existed very much on stage before, but we hadn't managed to translate it onto our previous studio albums. This sort of pseudo-severity and austerity we had in our music was basically due to the fact that we'd totally clam up in recording sessions! It wasn't something we'd ever wanted in our work – and I think that's why we always felt so frustrated listening to our old albums, apart from the very first one, that is. This time round with Champ libre we allowed ourselves to improvise and fool around with absolutely no restraint. For the first time in a long time we actually allowed ourselves to have FUN!
I agree, on songs like Le zèle des îles and Contre vous I'd say you actually take a light-hearted approach to things for once. Is this a case of your Alain Souchon side winning out over your Léo Ferré side?
I don't think there was ever any competition between them - Souchon was actually a big fan of Ferré's, you know… Personally, I really love both musical universes. Souchon writes with such disarming simplicity, his songs are so accessible and yet at the same time so strong. He's a bit like Brassens really, in that he can reach out and touch absolutely everyone because at the end of the day there's a profound humanity in his songs. What I love about 'chanson' most though is its literary side, not so much its broad, popular appeal – and I use that in the best sense of the word…
Moving on to a far less light-hearted subject, on your first 'proper' album (released in 1995) you spoke out against the massacres in Algeria in October 1961. There weren't too many other groups doing that at the time…
Actually, I think we were the first French group to do a song about it!
Now, seven years on, La Tordue are in the front line again fighting against the "double peine". You recently organised a major fund-raising concert, on 26 October, I believe?
The "double peine" (a law which means that someone who is not of French nationality is condemned for a crime in France and in his/her country of origin) is a sad reflection of the situation foreigners find themselves in in France, our wonderful home of human rights!… The campaign against the "double peine" is a very concrete struggle and that's what interested us in the first place, you know, the idea of trying to get rid of a totally racist law that reflects the general attitude we see around us, which harks back to France's colonial days. Burying the war in Algeria under a blanket of silence has turned it into a huge time bomb ticking away beneath our feet. North Africans are the great unwanted in our country today. We colonised them, then used them to come and do all the dirty hands-on jobs we didn't want to do. They gave everything and what do we give them in return? The gift of the "double peine", the no-right to vote and general scorn and contempt!
That's why we decided to get involved in the campaign against the "double peine". We use our song Le pétrin (from which all sales profits are donated to the campaign) as a sort of media support for the campaign and use every occasion we can in interviews to talk about it, too… All the groups and singers we contacted to sing on Le pétrin played the game too. They all threw their full weight behind the campaign. And I think Le pétrin is maybe our biggest success story to date… We're keeping up our fight during our current tour, too. We've arranged for a screening of Tavernier's film, Histoires de vies brisées, the night before our concerts in the towns where we play and someone from the campaign also comes along and mans a stand outside our concerts…
So how did it feel for such a political and socially-engaged group to sign to a big multi-national company like Sony last year?
Well, one thing's for sure, and that is that it helped us keep our heads above water because our previous record label, Musisoft, had just gone under… And if Epic hadn't waded in and offered us a recording deal at that moment in time, it's more than likely that La Tordue would have ended up as a small notice on an obituary page devoted to groups who'd kicked the bucket because they lacked a professional entourage worthy of the name!
There's no way we'd have wanted to be swallowed up by a multi-national before. But to tell the truth by that point we were thoroughly sick and tired of suffering the consequences of being with a label which yes, OK, was independent, but at the same time was totally fucked up… It's not like they were militant independents, either. They were just small fry who dreamt of becoming big cheeses one day and making bucketloads of cash… I mean, at least we get to work with people who are competent these days. Now we're in the same paradoxical situation as other political and socially-engaged groups like Zebda and Noir Désir, who've signed to major labels and who've now got the means to go out there and fight!
CD Champ libre (Épic/ Sony)
Jean-Claude Demari
Translation : Julie Street