Les Années Psychédéliques: 1966-71

It’s very possible that a great many of those musicians that you hold dear, are in fact, just over blow media constructions or folks with enormous personalities – but neither one ensures any sort of talent.

I can’t say with certainty where that sits Serge Gainsbourg. But I can say that, for the most part, his music isn’t anything that I’d particularly feel the need to own. Just last week, though, I was lucky enough to come across an album that featured a great deal of African percussion. And while it was an interesting disc, it wasn’t one that I felt needed to be included in my crates of records.

But then, during that same week, THIS video, as well as THIS one came to my attention. Each of those tracks are stoned, French funk and psych put together in a manner that only this man, this dirty pervert, is capable of.

Each of those tracks – which are instrumental versions from different albums – have been collected on Les Années Psychédéliques: 1966-71.

What Gainsbourg was actually pretty adept at doing was finding something that he liked and mimicking it. He even produced a reggae album during the ‘70s with the I-Threes as back up singers. That doesn’t make up for his missteps, but at least he gave it a shot.

And here on Les Années Psychédéliques, singles and instrumental versions are collected that fit – just barley – under the auspices of psychedelic music. Never having been known for his mellifluous voice, Gainsbourg’s performances here are really only palatable, because, as a listener, you know that after that one vocal track, you’ll be treated to a sample ready, funky gem.

When I spit out the word funk or funky, I don’t mean it in a Meters kinda way. But on the song “Psychastenie,” Gaisnbourg takes the one note James Brown guitar funk formula, adds a sitar to solo on top of that and holds it all together with a huge, repetitive bass line. The song really could be passed off as some innovative Eastern rock act, but it’s just this Frenchie with his hired studio guns.

For all my bad mouthing of Serge, this disc really does work to redeem him, even in the eyes of his foremost critics. Of the two videos linked above, “La Horse” is not only the preferable of the two, but perhaps the most intriguing track represented on the album.

Beginning with a trembling guitar note, reminiscent of a Leone film soundtrack, it launches into a strident jaunt as the earthy drums begin. While the guitar slithers through the track, the light and shimmering keyboard line can’t be diminished even by a brief inclusion of strings. And about half way through the track – for no other reason then it sounds great – is a bit of a banjo breakdown. This one track really is able to lend a glimpse into all of the musical tastes of Serge – well most of them.

The entirety of this disc isn’t up to these standards, but that’s in fact, a rather high bar. So, even if this hasn’t dissuaded you from feeling disgust for the man that is basically the equivalent of Don Ho to American culture, perhaps it should. And while I’m far from being a proponent of Serge, here he turns in a great deal of fine work.