After the Second World War, American Jack Hand decided to stay on in Paris with his love Paulette Desboeuf, a young French girl. They had five children, one of whom was William, born on July 9 1946. Jack Hand was a jazz musician, on the counter bass, who worked with the cream of the many American jazz musicians living in Paris after the War, who were particularly productive at that time. America was indifferent to jazz, often for racist reasons, and France offered a home to these exiles. In 1949, William's mother prevailed upon her husband to return to the States and the whole family thus found itself in Cleveland Ohio, until 1953.

When they moved back to Paris, William was often with his maternal grandparents, who both worked in show business. His grandmother was an usher at the Théâtre des Champs Elysées, the Paris temple of classical music, and his grandfather, Jean, was designer and stage manager at the Opera. Young William thus explored backstage at some of the biggest theatrical and musical performances, the costumes, decors and above all music, orchestras, instruments, and the great performances of classical music. It was a revelation for the lad who started piano at ten, in 1956.

A gifted pianist, William became the pupil of Yves Margat, himself a former pupil of the composer Gabriel Fauré, one of the most famous contemporary French composers. Very soon, the adolescent was attracted to composition rather than mere interpretation. He worked very hard and even accompanied his professor on holiday to continue the piano lessons. At 16, he was encouraged by his parents to take up music full time. William therefore left school for the conservatoire.

But in the early 60's the French musical scene echoed ever more loudly with the music from England and the States. William's ears pricked up with interest. Soon the sounds of the Beatles drowned out Mozart's harmonies in his head. Little by little, his classical vocation drifted into distinctly more rock'n'roll avenues. This was in 1965 and his professors were in despair as William gradually stopped coming to classes.

His first attempt at rock'n'roll was in 66 with a group from Nice, Worst. Then he set off on a tour of the American bases still active in France, with a singer called Luce. Their repertoire was very English.

But it was above all as a composer that William, now known as William Sheller, made his name. His precious classical training quickly made him sought after, particularly for orchestral scores, brasses and strings which were very fashionable at this time. In 1968, he met a group of Americans whose parents worked in France, and they formed a group, the Irresistibles, and then looked for songs. William offered them his song "My Year is a Day". This first recording of one of his compositions was a hit.

On the strength of this, CBS suggested he record a single, and "Couleurs" was produced to words by Gérard Manset, with "les Quatre Saisons" on the B side. But Sheller was not very interested in songs. What really interested him, then and now, was composing real musical works. He started off with a few film scores such as "Erotissimo" in 1969. He also brought out a second single, "Adieu Kathy". Finally, he composed a song to words by Manset, for Dalida, "je me repose".

In 1970, for a friend's wedding, William Sheller wrote a psychedelic mass for orchestra, rock and choir which he called "Lux Aeterna". This work was brought out in 1972 and was therefore his first album. But it is an instrumental album, since song was still not his target.

In 1973 it was the great singer Barbara who commissioned orchestrations from William Sheller for her album "La Louve". Sheller wrote a score for the song "Marienbad". The two artists became friends and Barbara encouraged him to try songs, to write and perform them. This idea began to take root and the following months saw him presenting a draft to his label, Philips. Written in "yoghurt", in other words French with vague English overtones, the title was "Rock'n'Roll Dollars". As soon as it came out in 1975, it was a huge hit. William Sheller was an overnight success with his text "Donnez-moi madame s'il vous plait du ketchup pour mon hamburger". He was thus catalogued as a commercial singer, and the public had no inkling of his real melodic talent as a composer. Despite this, one other track on the album, "Photos souvenirs", which was more ambitious and more like what he was to do later, was fairly successful.

This album brought William instant fame in show business. Over the following months it sold 500,000 copies. Sheller was everywhere, on the radio, the TV and performing in interminable promotional tours.

It was by using old songs that Sheller composed a second album in 1976. The preceding months had been far too busy for him to write anything else. The album, "Dans un vieux rock n'Roll", was therefore the continuation of the first, but it was bought by more discerning fans. The title song was played a lot on radio, and the other track which was popular was definitely "Le carnet à spirale", a magnificent poetic, nostalgic piece.

After two albums (of songs) Sheller began to work towards more complex, rich compositions than what was usually on offer. His roots in classical music were instrumental in this. Not only that, but he, who at first had wanted to do only pure composition, found himself caught up in the play of music and words. His models were Serge Gainsbourg and Charles Trenet. These were two markedly different writers, no doubt, but who had made their mark on the history of French song.

With his next album, "Symphoman", in 1977, Sheller allowed himself more personal lyrics. He began to abandon commercial song and use his credit with the public and show business to develop his true style. There were, however, few hits on this album, except perhaps "Catherine", dedicated to his friend the singer Catherine Lara, who was famous for her talent in playing the cello. She does in fact accompany him on this track.

At the end of the seventies, Sheller had become a star in his own right and his composing talent was recognised throughout the profession. In 1978 he wrote a ballet for the Paradis Latin, the famous Paris cabaret, in the feathers and sequins tradition. More than that, he began to write classical orchestra pieces, with a concerto called "Le Violonaire français", again dedicated to Catherine Lara. In 1979, he wrote the score of the film "Retour en Force", directed by Jean-Marie Poiré.

William Sheller started the eighties with a new album acclaimed by the critics, "Nicolas". Two songs stood out apart from the title song: "Oh! J'cours tout seul" and "Fier et fou de vous". His records are often autobiographical or strongly influenced by his personal anxieties, and a certain sadness is perceptible beneath the ambient gaiety of his records. Moreover, Sheller's songs were increasingly giving way to spectacular orchestrations and the instrumental patches between songs began to multiply as he made more records.

After five years in the business (as a star) and four albums (as a singer),Sheller performed on a big Paris stage for the first time in 1981. This experiment, which was on May 4 at Bobino, began the great love story between Sheller and the stage since, from this moment on, not a year went past without him doing a concert.

This first series of concerts was accompanied by an album, the title of which reflects Sheller's mood at the time: "J'suis pas bien". The success of "Une chanson triste et sentimentale" confirmed that the artist was fairly morose at this period.

On October 20 Sheller joined Catherine Lara in a concert at the Palace, the famous Paris club, to mark the twentieth anniversary of Amnesty International.

His morale improved, Sheller took to the stage from April 26 to May 2 1982 at the Olympia, the most famous of all Paris stages. A double album was made of the show, with some unpublished songs such as "Rosanna Banana", which reflects the energy of the stage performances during his concerts. Sheller really lets himself go on stage, finding a space in which to create which is far better than the studio. Moreover, there is the reaction of the public, stimulating and motivating him.

That same year, William Sheller's recording company, Philips, asked him to bring out an album with a mere six songs, "Simplement". This commercial fancy nevertheless contained three excellent tracks, "Maman est folle", "les Filles de l'aurore" and "Mon dieu que j'l'aime".

But Sheller was becoming really keen on the stage. In January 1983 he gave a series of 4 recitals, alone at his piano, at the Théâtre 140 in Brussels, Belgium. His first experience of this type had been in 1981, when the instruments of the group had been blocked at the Belgian border. Sheller had therefore done it all alone, much to his own and the public's enjoyment. This stripped down formula, similar to classical music concerts, obviously appealed to him.

In April he was invited to the Festival de Bourges, and on June 14 he shared the bill with Jean-Jacques Goldman and the singer Busy at the Olympia.

He returned to the Théâtre 140 in Brussels from February 2 to 5 1984, for another series of recitals on the piano. But that year, Sheller also started the experiment of the Halvenhalf Quatuor. This Belgian quatuor (2 violins, 1 alto and one 'cello) was to accompany him for a long series of concerts, thus allowing him not only to re orchestrate some of his songs, but also; more importantly, to create some of the orchestral pieces he had in his mind. They performed together at the Olympia from September 11 to 16 1984, and the album "Olympia 84" was drawn from these concerts. Moreover, they also recorded an orchestral album, "Quatuors", that same year.

Sheller was becoming more and more involved in the creation of orchestral pieces, his true and lifelong passion. He was even invited to the prestigious Montpellier festival of classical music in southwest France in 1985, for the creation of his "Suite française pour piano, voix et orchestre", by the Orchestre National du Languedoc-Roussillon. That autumn, William Sheller toured France, continuing on into 86.

In 1986, between concerts, Sheller produced a few young artists such as Didier Odieu (who had performed in the first half of his concert at the Olympia in 1984) and Alain Lanty.

In 1987, William Sheller brought out a new album, "Univers", which this time was very orchestral in tone. There is much lyricism and imagination in this half-classical, half-pop album, inspired both from cartoons and science fiction. The song "Nouveau Monde", with its long instrumental introduction, was an unqualified success. "Guernesey", also, a song about Victor Hugo's exile in the Channel Islands, written by Bernard Lavilliers.

This album sold over 100,000 copies and won a golden disk. On the back of this success, Shelley was the closing item at the 11th Festival de Bourges in April, and from 18 to 24 November he went on stage at the Grand Rex in Paris. The decors were by Philippe Druillet, the cartoonist whose mad, unlimited imagination appealed enormously to William Sheller.

In Spring 88 it was in Japan that Sheller gave 3 concerts, accompanied by a Japanese symphony orchestra. With his album "Ailleurs" in 1989, William Sheller let his imagination roam even further. A sort of sequel to "Univers", "Ailleurs" is a dream voyage. In the clip of "Excalibur", directed by Philippe Druillet, William Sheller can be seen made up as a kind of cartoon Eric Von Stroheim. Times have changed since "Rock n'Roll dollars"...

In 1989, Sheller also put on "Quasimodo", a musical freely inspired from Victor Hugo's novel "Notre Dame de Paris". The role of Esmeralda is played by Nicoletta. The show was relatively successful and drew an audience of some 200,000.

From May 2 to 6 1990, William Sheller attained his dreams of grandiose symphonic works with his show at the Palais des Congrès in Paris. For the creation of his "Concerto pour Violoncelle", he was surrounded by an orchestra of 70 musicians! This event to some extent marked the culmination of all the years during which he explored composing for everything from the quatuor to the symphony orchestra. It is no doubt for this reason that Sheller then returned to the quietest type of musical expression, solo concerts.

On December 3, William Sheller therefore appeared alone on stage at the Olympia. His talent as a pianist and the range of his repertoire were so suitable for this formula that in 1991, Sheller decided to record a solo album in the studio with a public present. As soon as it came out, on May 6 91, "Sheller en Solitaire" met with amazing success and 200,000 were sold within a few months (this reached half a million in 18 months). Among the 15 tracks on this record it was the unpublished one, "Un Homme heureux", which was the hit. There is no doubt that 91 was Sheller's year. He went back to the Olympia, then the Casino de Paris (from December 11 - 13), then went back on tour with the piano. The album won the Oscar of French song awarded by UNAC (Union Nationale des Auteurs Compositeurs, the national union of songwriters and composers). Above all, he won two Victoires de la Musique, in February 92, for the Best Album and the Best Song.

After this solo parenthesis, William Sheller returned to team work. In 1992, he wrote a "Symphony for a Young Orchestra", "Symphonie pour un jeune orchestre", interpreted by 70 musicians. Then he gave a concert with the Lille National Orchestra, directed by Jean-Claude Casadessus. His appetite for composition seemed unlimited, and on January 24 1993, Sheller's "Concerto pour trompette" was played by the Orchestre des Concerts Lamoureux for the first time at Salle Pleyel.

At the end of 1993, his "Carnet de notes", a compendium of all Sheller's orchestral works, came out, recorded on four CD's.

That autumn, William Sheller set up in the superb Ridge Farm studios in England to record what would be his first original album since 1989. "Albion" was entirely designed with a team of English speakers, produced by Mark Wallis, and was brought out on January 25 1994. It surprised the public, revealing this time a Sheller of volcanic temperament, verging on hard rock. After so many years of acoustical and semi-classical music, "Albion" marked a new stage, moving towards electrical and rock music.

In February, Sheller won a new Victoire de la musique, but this time for the music to the film "l'Ecrivain public" directed by Jean François Amiguet. Then, from October 18 to 30, performed at the Olympia before starting out on a long French tour.

"Olympiade", the live double album of the Olympia concerts, came out in 1995. Also that year, William Sheller signed some songs on his friend Nicoletta's album, "J'attends j'apprends".

Repeating the musical training course he had given to young artists in 91, William Sheller selected young children in February 96 for a series of music classes centred on song. This teaching experience appealed greatly to the musician. He therefore joined a pedagogical committee composed of members of the ministries concerned (Culture and Education) and musicians, with whom the syllabi of these courses were defined.

Sheller returned to the stage at Salle Pleyel in early 97, for the creation of a new concerto. For the present, this peaceable man who lives in a large Paris apartment with his wife and two children, Johanna and Siegfried, devotes all his time to composition. A recent convert to computer-aided composition, he is also working on melodies. Amongst others, the soprano, Françoise Pollet, who created some of these on October 4 at Pleyel, accompanied by the Orchestre de Concerts Lamoureux.

The following year Sheller celebrated 25 years in the music business with the release of a Greatest Hits compilation entitled "Tu devrais chanter" (You Should Sing). (The title of the album was a tribute to the late great chanson star Barbara who had encouraged Sheller to start performing his own material). Sheller fans turned out in full force later that year when their idol performed a special one-off concert at the Olympia on 28 December 1998.

Sheller returned to the music spotlight at the start of the new Millennium, releasing a new album entitled "Les Machines Absurdes" (on 18 January 2000). This new album was a major event in the French music world as Sheller had not released a new studio album since "Albion" six years before. Eagerly awaited by critics and music fans alike, "Les Machines Absurdes" was showered with rave reviews, critics praising its finely-honed melodies and its beautifully-crafted lyrics. Sheller had spent several long months in the studio working on this new album and the ten songs on "Les Machines Absurdes" more than lived up to expectations. The album featured a rich mix of genres - ranging from electro sounds on "Athis", Celtic vibes on "Moondown" and Indian influences on "Indies" - which was held together by Sheller's usual trademark: lots of soaring strings.

Encouraged by the enthusiastic reception of "Les Machines Absurdes", Sheller launched into preparations for his new tour which kicked off on 29 January 2000 in Clamart in the Paris suburbs. The pianist's performance proved to be a big hit in Clamart and the audience appeared to be particularly impressed by the unusual on-stage collaboration between a classical ensemble (string and wind instruments) and a rhythm section (made up of guitars, bass and drums). Sheller gave another memorable performance when he appeared at the legendary Olympia in February 2000, the audience breaking into rapturous applause when Pascal Nègre, the director of Universal France, stepped up on stage to present the pianist with a gold disc for his album sales.

Sheller completed his spring tour on April 12th, but went on to appear at a series of summer music festivals including "Jazz à Nice", the "Paléo Festival" in Nyon (Switzerland) and "Les Nuits de Fourvière" in Lyons. At these open-air performances, staged come rain or shine, Sheller proved his worth as a real showman, winning audiences over with his relaxed stage persona, his personal charisma and his powerful new stage show (recently boosted with a stunning live version of "Excalibur", from the album "Albion").

Sheller hit the road again with his orchestra at the beginning of November, embarking upon a 15-date tour. The tour included an exceptional concert at the Théâtre des Champs-Elysées in Paris (on November 11th), where Sheller played on stage for almost four hours, performing an impressive part of his repertoire.

In 2003, the artist renewed his bond with so-called classical music by giving his name to the compositions on a new recording called "Quatuor William Sheller". These 12 works are performed by the Parisii Quartet, founded in 1981 by four postgraduates of the Consevatoire national superior de musique, in Paris.

Since then, he has continued to enthusiastically work the major concert-halls in France.

In 2004, the Classical Music Festival of Sully-sur-Loire commissioned Sheller to write a symphony in three movements. The symphony was performed at the Sully-sur-Loire festival in June of that year.

Meanwhile, Sheller was hard at work on a new album destined for the musical mainstream. For the past three years the pianist, who had by now moved to a new home in Sologne in the middle of the French countryside, had been honing a series of news songs in his home studio. His new album, released in November 2004, was called "Epures" (a reference to a graphic design term meaning "rough outline" which also conveyed the idea of purity).

Sheller went back to musical basics on his new album, concentrating on a simple piano-and-vocals mix. "Epures," which combined rich musical arrangements with finely-crafted lyrics, featured eight songs (including a new version of "Machines absurdes") and three instrumentals. If the album sounded familiar to fans and music critics, this was no doubt because the William Sheller of "Un homme heureux" had re-emerged at the top of his form.

At the end of 2004, Sheller embarked upon an extensive tour, accompanied by an orchestra of 18 musicians. After bringing the house down at the Folies Bergères, in Paris (1-12 February 2005) - where he was applauded by an army of fans who had awaited his live comeback for many years - Sheller remained on the road with the orchestra until April 2005.

Once this full-blown orchestral extravaganza came to an end, Sheller took to the road again with a more intimate ensemble. This time round, he was accompanied by a string quartet led by Nicolas Stevens (a violinist famous for his work with the likes of Craig Armstrong and Louis Chédid). Sheller took a short break from his quartet tour to perform a special recital at the Théâtre des Champs-Élysées on 14 November 2005. On this occasion, he celebrated 30 years in the music business.

Fans who missed the chance to enjoy Sheller's greatest hits live in concert were treated to a special release on 31 October 2005: "Chemins de traverse", a 16-CD boxed set retrospective of the singer-composer's work spanning thirty years. On the same day, the DVD "William Sheller : 30 ans de chanson... Parade au Cirque Royal" was also released. The DVD featured footage of a special one-off concert recorded live at Le Cirque Royal, in Brussels, in March 2005.

Sheller devoted most of 2006 to classical music, recording a series of orchestral works (notably symphonies by the 17th-century composer Jean-Baptiste Lully) with L'orchestre Ostinato, conducted by Jean-Luc Tingaud. On 29 July 2006, as part of a series of concerts organised by Les Fous Chantants, a 1,000-strong choir conducted by four different choirmasters, performed choral covers of a number of Sheller hits. The singer himself guested on this occasion.  Sheller continued to tour in France throughout 2006, stopping off at the Théâtre du Châtelet, in Paris, on 25 January to perform his "Symphonie Sully."