Motown artists on "Thank God It's Friday" soundtra

[STEPHEN L FREEMAN]

DC LaRue - You Can Always Tell A Lady (still lookin for this grrr)

I have it as the b-side of the "Let Them Dance" 12", on PYE Records/UK.
I just kept an active search on e-Bay for it. It shows-up, from time to time.

[PierreConstantin]

The "Moi Non Plus" part of the title, referring to Thor's additional music production.

The original song sung by Brigitte Bardot in 1967 and then covered by Jane Birkin in 1969 is originally «Je t'aime (moi non plus)» : «I love you (neither do I)». Gainsbourg wrote it for Bardot and the «Moi non plus» part of the title is something Dali said about Picasso : «Picasso is Spanish, me too, Picasso is a genius, me too, Picasso is a communist, neither do I».

The story of the song (in French) :
Lemonde.fr : Je t'aime... moi non plus

Donna Summer covering «Je t'aime (moi non plus)» is a strange idea, like a step back. «Love to love you baby» was already a re-reading of the Gainsbourg song but with elements inspired by the O'Jays («For the love of money») and Isaac Hayes, added to the singer's own touch. Her «Je t'aime (moi non plus)» is almost just a rerun and generally people don't know she covered it. The song never charted anywhere and I don't think a single was issued outside an obscure Mexican 7" (a bad edit with a picture taken from the «Once upon a time» lp).

The song finally saw the light of day, as a promotional tool. Kinda like releasing 3 "Live" sides and 1 of new material on "Live & More". Remember, Casablanca was the first to do that concept, too.

Marvin Gaye album «Live at the London Palladium» (Motown, T7-352R2) was released in March 1977 and it's the same concept : three sides live and the fourth is the studio track «Got to give it up».

[PierreConstantin]

Giorgio Moroder

Thank you.
How do you know it's Moroder? I thought, without much evidence, it was Thor Baldursson like in Grace Jone's «Suffer».

[remicks]

*****


Thanks for sharing so much insightful info Stephen! :icon_biggrin::icon_cool:

Now as for Donna's JE TAIME ... you've got me now wanting to go back and give it a fresh listen .

Here's the deal on "Je Taime". It was recorded in the summer of '77 and released as a VERY limited promo (NBD20105), immediately after the 12" remix of "I Feel Love / Theme From The Deep" (NBD20104)

If you go back to the earlier Giorgio interviews he states that the concept of "Love To Love You" was to re-create a song like Serge Gainsbourg's late 60's hit, "Je Taime". Then (in what I consider to be Thor Baldursson's most beautiful, signature 'Munich Machine' composition), Giorgio, Pete, Donna and Thor went ahead and re-arranged and re-recorded "Je Taime". The "Moi Non Plus" part of the title, referring to Thor's additional music production. (Similar to the much maligned "Love To Love You, Baby", anyone who dogs "Je Taime/Moi Non Plus" has obviously never sat down and seriously listened to the stunningly intricate arrangement. Once you allow yourself to get past the kitshy gimmik vocals of both tracks, you hear melodies play-out, that transcend their genre.)

Anyway... Instead of sending this out to Record Pools, they had limited copies go out with promoters, who went from club to club, testing it's dancefloor reaction. What was hoped to be a summer sizzler, completely fizzled. Especially, since Serge Gainsborg went and produced his own remake with Saint Tropez, that stuck, solely to the original music and was about 124bpm. No big suprise as to which version took-off. So, Casablanca shelved the track. It was obvious that Donna couldn't go backwards in style. "I Feel Love" had set the bar higher. Even if it was in tended to be a filler-track that they had so little faith in, that Casablanca released the full version as the b-side of "Can't We Just Sit Down And Talk It Over." Didn't even bother to edit it down for the 7" single. (Can you imagine how it would have affected production of the "Once Upon A Time" L.P., released in the fall of '77, if "Je Taime" were a hit???)

Now, if you were lucky (like me ) and begged the hell outta the Promotions guy to let you have a copy, (when he came to the Candlelight in NY, while I was playing, I slipped a message to the waiter to tell everyone we knew to GET ON THE FLOOR!!!!) you were one of the chosen few who actually owned the elusive "unreleased Donna".

Anyway... Casablanca's Reps in NYC, and the LA offices, kept getting hounded with calls and requests from the rabid Donna fans to release "Je Taime". So, adding it, as a "Bonus 12" single" was a way to kill 2 birds with one stone. Utilizing unused, finished product to put a sales gimmik into the TGIF Soundtrack. The song finally saw the light of day, as a promotional tool. Kinda like releasing 3 "Live" sides and 1 of new material on "Live & More". Remember, Casablanca was the first to do that concept, too. And managed to go double-platinum on an album with, essentially, only 1 new track.

Also, that's why the sound quality and mix on "Je Taime" is so much better than the rest of the LPs. It was mixed long before and the masterplate re-cut to carry the TGIF catalogue numbers.

.

*****


I'd always considered JE TAIME a throwaway addition to the TGIF soundtrack .... some leftover Donna for Casablanca to either then use or forever let rot in the vaults ...

I had already gotten my fill of the song from the Saint Tropez version and that had been a strain to embrace . It was one of those LPs I purchased during my struggling student days and therefore felt determined to garner fulfillment from my investment . I used it because it wasn't terrible but it didn't actually move me . Its one of those I forever bypass without temptation when shuffling through albums to play .... yet despite doing so, remains fresh in my brain .
So to have the song come out yet again so soon...well, :icon_rolleyes:... BUT at least by Donna Summer :icon_mrgreen: and promised as something extra special added to the soundtrack :icon_cool:..... I had my (guarded) hopes up. I played it through perhaps a couple of times or three and then never again. Too much other music around to turn my attentions toward (from the TGIF soundtrack alone for starters ! )
I didn't know at the time JE TAIME had already had a limited release and was desirable to DJs longing for its broader release . So how terrific that Casablanca came through and offered it up . The adventuresome spirit of Casablanca in its packaging and promotion was something I always thought they had right. Adding that third disk was no casual task with the needed thicker binding , and its own special cardboard inner sleeve like the others ....so it wasn't incidental for them to decide to include it.

Nonetheless I never felt it to be as special a song as it advertised itself to be .

But your enthusiasm and seal of approval Stephen , has made me once again curious and I look forward to putting it on and giving it a respectable listen. Unlike Saint Tropez's version, Donna's doesn't so clearly resonate in my head so to listen to it again after all these years will seem a new experience. I'll keep in mind your comments while listening :

Then (in what I consider to be Thor Baldursson's most beautiful, signature 'Munich Machine' composition), Giorgio, Pete, Donna and Thor went ahead and re-arranged and re-recorded "Je Taime". The "Moi Non Plus" part of the title, referring to Thor's additional music production. (Similar to the much maligned "Love To Love You, Baby", anyone who dogs "Je Taime/Moi Non Plus" has obviously never sat down and seriously listened to the stunningly intricate arrangement. Once you allow yourself to get past the kitshy gimmik vocals of both tracks, you hear melodies play-out, that transcend their genre.)

:icon_cool:

....Who knows, maybe now, without the distraction of 300 other concurrent releases, I'll take the time and hear in it what I hadn't before ...:icon_biggrin::icon_cool:


*****

[discokicks]

*****


Thanks for sharing so much insightful info Stephen! :icon_biggrin::icon_cool:

Now as for Donna's JE TAIME ... you've got me now wanting to go back and give it a fresh listen .

It made me go back and give it a spin too!

Stephen, I can't tell you how intriguing your tales are with this music that has been a big part of my life. The stories help to give this music even more credibility and importance.

But almost exactly as Remicks wrote, I had viewed Donna's cover of Je T'aime as more or less a throwaway even though I so wanted to embrace it as I had done with her other 17-minute epics. I think at that time though, I Feel Love had happened and I was still crazily ga-ga over that double-vinyl masterpiece called Once Upon A Time. Seeing this special one-sided record promised yet another long Summer/Moroder epic but alas, it failed to meet my expectations....blame it on Fairy Tale High.

Listening to it now, after those years of high excitement have long passed (plus a little thing called thirty years of life), I find it damned gorgeous and will certainly be getting the attention it deserves.

[STEPHEN L FREEMAN]

The original song sung by Brigitte Bardot in 1967 and then covered by Jane Birkin in 1969 is originally «Je t'aime (moi non plus)» : «I love you (neither do I)». Gainsbourg wrote it for Bardot and the «Moi non plus» part of the title is something Dali said about Picasso : «Picasso is Spanish, me too, Picasso is a genius, me too, Picasso is a communist, neither do I».

Donna Summer covering «Je t'aime (moi non plus)» is a strange idea, like a step back. «Love to love you baby» was already a re-reading of the Gainsbourg song but with elements inspired by the O'Jays («For the love of money») and Isaac Hayes, added to the singer's own touch. Her «Je t'aime (moi non plus)» is almost just a rerun and generally people don't know she covered it.

Marvin Gaye album «Live at the London Palladium» (Motown, T7-352R2) was released in March 1977 and it's the same concept : three sides live and the fourth is the studio track «Got to give it up».

I'm never too cocky to stand corrected. But, from what I'd read over the years, I was under the impression that the song was originally titled "Je Taime", with the "(moi non plus)" being added later for the title of the movie of the same name. And, on the original Pro 12" the writers' credits are "Serge Gainsbourg - Thor Baldersson" and rightfully so, as, out of 15'50", Baldersson wrote the majority of what you hear.

As for the O'Jay, Isaac Hayes reference, I can't get behind you on that. The very first release of "Love To Love You" (available, only on the Groovy/Basart single and the "Oasis"-The Sound of Munich" LP) Was definitely a knock-off of the original "Je Taime". But the re-recorded & remixed long version (and all subsequent singles) was comprised of purely Munich Machine elements. Particularly within Mike Thatcher's String & Horn arrangements and Giorgio's 4-on-the-floor kick-drum and bassline. I, honestly don't hear any pop/funk influence in that track. It's a "Say Yes" production, from start to finish..

And I'd completely forgotten about the Marvin Gaye LP being a '77 release. You are correct, Sir.

[STEPHEN L FREEMAN]

Thank you.
How do you know it's Moroder? I thought, without much evidence, it was Thor Baldursson like in Grace Jone's «Suffer».

2 ways: 1) Listen to "Sooner or Later" of of the "Knights In White Satin" LP. The voices are unmistakebly the same.
2) I asked him.

[STEPHEN L FREEMAN]

I'd always considered JE TAIME a throwaway addition to the TGIF soundtrack .... some leftover Donna for Casablanca to either then use or forever let rot in the vaults ...

That's not far from the truth. As I'd said earlier, it was obvious that Donna couldn't go backwards. "Love To Love You" was a bolt of lightning that wasn't going to "strike twice". Thankfully, we old Donna fans were a rabid bunch!:icon_biggrin:

I had already gotten my fill of the song from the Saint Tropez version and that had been a strain to embrace . It was one of those LPs I purchased during my struggling student days and therefore felt determined to garner fulfillment from my investment . I used it because it wasn't terrible but it didn't actually move me . Its one of those I forever bypass without temptation when shuffling through albums to play .... yet despite doing so, remains fresh in my brain .

Don't write-off the St. Tropez version just yet. Give it another listen, as well. I've almost ALWAYS listened to the 2 versions back to back. The St. Tropez version has the original artist/composer Serge Gainsbourg, highly involved. So, it sticks to the original melody and does a great job of extending it. And the 2nd half, has a 4 part string harmony going on that is stunningly beautiful. (I still can't believe it was a Rindner/Lewis arrangement!) You just have to really sit down and listen to it. The violins, cellos, violas and brass are all playing different melody lines atop one another, that meld together so perfectly, that you don't actually realize it's 4 different melodies! And, again I recently acquired a Japanese copy of the LP was knocked of my feet by all that I DIDN'T hear on the US pressing, OR the UK 12"!!!

The adventuresome spirit of Casablanca in its packaging and promotion was something I always thought they had right. Adding that third disk was no casual task with the needed thicker binding , and its own special cardboard inner sleeve like the others ....so it wasn't incidental for them to decide to include it.

Casablanca was the first record company to have it's entire board of directors comprised of promotions Men. Their company slogan was "Whatever It Takes!". They were always about being "the first" and "the best". Unfortunately it was their downfall. (Well, that and all the drugs!) I'm sure youve heard the industry quote about Neil Bogart: "If it cost him 3 dollars to make 2 dollars, he would do it." Also, you may have notice the quality of Casablanca's pressings started to slip after TGIF. They sank sooooo much money into it's promotion that they had to cut corners on production costs. Compare the sound quality of your '77 - early '78 Casablanca pressings, against everything after the Spring of '78. At that time, Polydor, who was pressing the records was not as concerned with quality, so much as quantity.

There's a fantastic book about the Record Business from the 60's through 1990, titled "Hit Men". Chapter 9 is simply titled "Casablanca". No other record company had the distinction of a chapter devoted, solely, to it. If you want an excellent starter crash-course in Casablanca, this book has it.

But your enthusiasm and seal of approval Stephen , has made me once again curious and I look forward to putting it on and giving it a respectable listen. Unlike Saint Tropez's version, Donna's doesn't so clearly resonate in my head so to listen to it again after all these years will seem a new experience. I'll keep in mind your comments while listening :
:icon_cool:

....Who knows, maybe now, without the distraction of 300 other concurrent releases, I'll take the time and hear in it what I hadn't before [COLOR=Indigo][B]...:icon_biggrin::icon_cool:

I'm sure you will!!!:icon_biggrin: Particularly Thor's break at the 8 minute mark. It's, basically, the 3rd passage of a 4-part suite. Where the song breaks down to the teak sticks and slowly builds back up to the trademark Munich Machine tenor & soprano sax riff. Then the strings play their melody, with the horns "answering" them. Listen as each track comes back in. Each playing a different rythmn/melody and laying seamlessly on top of each other. I'd always considered it to be a song by "The Munich Machine, featuring Donna Summer".

[STEPHEN L FREEMAN]

It made me go back and give it a spin too!

Stephen, I can't tell you how intriguing your tales are with this music that has been a big part of my life. The stories help to give this music even more credibility and importance.

Listening to it now, after those years of high excitement have long passed (plus a little thing called thirty years of life), I find it damned gorgeous and will certainly be getting the attention it deserves.

<sigh> My work here is done. :icon_lol::icon_lol:

[PierreConstantin]

I was under the impression that the song was originally titled "Je Taime", with the "(moi non plus)" being added later for the title of the movie of the same name.

I think «Je t'aime» is like the "usual English title" of the song. In France it's always «Je t'aime... moi non plus» or «Je t'aime moi non plus». What's more, it's like a sentence per sé and we say it or read it all the time when X loves Y but Y doesn't seem to love X. The "moi non plus" part wasn't added for the mid-70's movie, it was a part of the title from the beginning. It's on the first 1969 7" sleeve and also on the sleeve of a 1970 parody (The Bardot 7" is from 1986, after the movie).

The sleeves :
Ça (Je t'aime moi non plus) (par Bourvil et Jacqueline Maillan) - fiche chanson - B&M
Gainsbourg.net - Je t'aime moi non plus
Gainsbourg.net - Je t'aime moi non plus

Je t'aime… moi non plus - Wikipédia

This is the Donna Summer Mexican 7" sleeve (the only one with «Je t'aime» only, but the reason is that "moi non plus" French spelling is not very "Spanish-friendly"):
Gainsbourg.net - Je t'aime
from Gainsbourg.net - Je t'aime moi non plus

for the O'Jay reference, I can't get behind you on that.

The bass line is almost the same.:icon_smile:

[STEPHEN L FREEMAN]

I think «Je t'aime» is like the "usual English title" of the song. In France it's always «Je t'aime... moi non plus» or «Je t'aime moi non plus».

The "moi non plus" part wasn't added for the mid-70's movie, it was a part of the title from the beginning.

As I'd said before I was under the impression it was added for the movie. I'd been doing some research on Warhol and Joe Dallessandro, (who was in the movie) and in the articles, the authors referred to the song one way and the movie, in another. But I'm not French, so I'll gladly defer to your knowledge.

The bass line is almost the same.:icon_smile:

Similar, yes. But then you'd have to say that all "Say Yes Productions"' basslines were derivative of "For the Love of Money" (I Wanna Funk With You Tonight, Kung Fu's Back Again, Trouble Maker, Knights In White Satin, Try Me I Know We Can Make it, etc... They're all of similar structure and in the same key. Somewhere on this Board is a thread called "How To Make A Giorgio Moroder Bassline") Unless it's coming directly from Giorgio, or Pete; to say that such an integral part of "The Oasis Sound" was influenced by any one, particular song, is simply too general.