Post by ocelot on May 14, 2006 18:00:04 GMT -5
After having walked on the traces of Mariah Carey and Celine Dion, on tempting an international career – for the hour on – stand-by -. The more beautiful Australian voice was recently in France for what she comes from specially recording a whole album “Un Autre Univers (Another Universe)” import by the tube “Aimer Jusqu’a L’Impossible (Love to the Impossible)”. At the time of keeping an amazing frankness, the singer is conferring on difficulties of her job in a weak context for the crisis in the disc and the race on the tube – at all cost.
After the success d' "Love to the Impossible", you go out, in second extracts album "My Name is Baghdad" signed, as the first one, Elodie Hesme and David Gategno. Do you get annoyed that the songs that you write never go out in single?
Yes, that bothers me a little.
It’s your 5th album, 4th album in France, and not on these albums, you write a lot of your songs, notably the music, but doesn't go out in single. Why?
This is not me that decides. More and more, the artists lose the strength and forces for them. One lives in a world where creativity is not anymore the thing more important. This that dominates, this is the race to the "tube", and here, one privileges the authors and French composers. While in Australia, a lot of my own songs took out in single, and with successes.
You finally remained with Columbia-Sony, after having been necessary to leave with Mercury-Universal...
I discussed with of other record companies. I was not satisfied of this that happened with "Just Me" (editor's Note: her last album in English, on which had been added three titles in French on the hexagonal pressing.) I was depressed at that very moment, because I had written a lot of equipment on this disc, and that one did not understand me. And then one imposed me the producers of the French songs, that walks as that here. While at the international level, my choices always were respected. For me, this French exception is very painful, in so as "creator" of songs to which ones I believe and that one does not leave me to defend. (Editor's note: after world-wide failure, and in particular America of her last English-speaking album "Just Me", Tina left Sony Music International. Remained a time without record company, she has finally re-signed in direct with the French branch of Sony, where she is in future an artist "local house").
One does you to record songs in French, specifically for the French market. Nevertheless, the French public likes also the English variety...
Completely. This is a point on which I like to argue. I am persuaded that if one presented my songs in English to the French public, it himself there could accustom and hang. But one replies me always that the French public has specific tastes, that here it is different.
The texts that one does you to sing in French have often more of "sounds" than of "senses" as "Aller Plus Haut" or "Aimer Jusqu’á L’Impossible"
Yes, and that remains in the head of the people, because one there often repeats the same words. But one does not give to the public the choice to listen things more "demanding". That says, in this album that is 100% French, there is four or five very interesting texts, that I like a lot, as "Baghdad", "Simple Desire", "Another Universe" ...
The songs that you signed on this album are they gone out in English beforehand, where itself does it act just French adaptations of unpublished songs?
These are new songs that I wrote in the two last years, and that do not exist in English that in version "Model" for the moment. But I need to write and to compose, to express myself, otherwise I become empty and frustrated at the creative level. There is several times where I failed to abandon all, so I was discouraged
And nevertheless, when you done "Aller Plus Haut" or "Aimer Jusqu’á L’Impossible" that walks...
If that pleases the people, this is that there is a reason: the tune pleases for them. But with "Baghdad", this is the first time that I will sing in French in text that is not... banal (laugh)! That tells something, this is a song that engages and that pleases me a lot.
Is this you that the asked?
No, one presented it for me and I right away cracked over.
Do you understand enough French to choose a text?
Ah, yes! Of course. Not again some to write, even if I can find some sentences or imagine a history in French, but I have not again all the subtleties of the language to write it perfectly
There will it have a pop video for "My name is Baghdad"?
Yes, it already is turned, with the same director, Thierry Vergne
Sony France invests a lot on you, for the pop video of "Aimer Jusqu’á L’Impossible" has cost 88 000 Euros...
Yes, they put the means, and they do the things well. Fortunately for me, I have the support of my record company; they believe in me, I am lucky.
On this album, one rediscovers signatures that already worked for you, as J. Kapler (" To Go Higher") Robert Goldman, are you faithful to your composers?
I am not necessarily faithful. I am faithful to creativity, some does.
In your albums, one always rediscovers a multitude of authors and composers, in English as French...
Sony loves to work as that. This is their manner to do the things. That is not my habit. My team to me is composed from only four persons: my manager, Bruce Pawsey, me, and two friends, that are at London: Paul Guardiani, and Duck Blackwell. This are them that did the production and the arrangements of six titles of the album, of which "AJALI", "Si J’Avais le Temps", "Un Autre Univers" ... They have also remixed "Baghdad" I like to work with them, one agrees well and I find as this as one does together is a little different of the others entitle, realized by of French. The English and the French have a very different knowledge of the sound. But for example, I love the arrangement that did Bernard Arcadio on the duet with Herni Salvador: it has his clean one his to him, timeless "classifies", out method. But in France, there is a lot of authors, composers or producers that well established, well protected, that have them "paw" sunk well closes in the earth, and that "monopolize" all the places and have all the caps. This manner to do is not in my culture.
In the past, you also multiplied the producers on your English albums, and not least: Walter Afanasieff (Celine Dion, Mariah Carey, Michael Bolton. ..), Desmond Child (Dear, Ricky Martin, ...), Mick Jones (Foreigner), or again Nile Rodgers (Chic, Madonna, David Bowie, ...)....
That it was the way to do International Sony. This is an ego thing, one imposed it for me. After the success of the album "Don't Ask" that I did completely with David Tyson, everyone wanted to impose on my discs. And the artist is lost in all that.
This is because of that that your artistic picture was a little jumbled, notably to the USA where your career never did really take off...
Yes, this is exactly that the problem. One will change all that. Little by little. But it is necessary success, to have strength and the force to do something of a little different. Otherwise, the decision-makers remain cynical, and are very difficult to convince. (In English, a little irritated) "We don't live in a free world anymore! We live in has world that's controlled, politically, spiritually, musically..."
At the time of your recent one Paris "Show case", during of which one put back you a disc of now for "AJALI", one see you sung at to accompany you at keyboard. You are a true musician, and nevertheless, one has the impression that you are not “Positioned" that as a singer to voice...
That flatters me and that touches me a lot that you perceived that, for this is exactly that. I am not that a voice, but to do to understand that to a record company, this is very very difficult. I have the impression to beat me alone, and I will always be all alone, to the bottom.
You are not anymore really alone, since John Claude Camus has announced that he was going to be your scene producer...
This not step again is signed, but one will do some dates together to begin, as "Night of the Proms". But here, one announces often the things before they totally are done. ..That says, I want climb on scene, for me this is the better one
You already thought about a room?
My best memories "live" in France are at the Olympia. This is a theatre, intimate, where one sees the imperfections of the artist, and this is very interest. I wait with impatience the day where the French public will see me really on scene, such as I am, with my qualities and my defects.
If you climbed on scene, you would sing songs of each of your albums?
No, I do not sing anymore never nothing of the all first one "Strong have Steel" (editor's note: done not go out in France), for I have not it written, it was well for the era, even a little some advances on his time for the public Australian, that did not be ready. On the other hand, "Don't Ask" represents me perfectly.
The song "Chains" was magnificent, and nevertheless she did not walk here?
Because the tastes his different ones in each country. If it there has well a thing that the time and disappointments learned me, this is that one cannot force the people to like something, even if oneself even one finds that inspired. I tried to defend "Chains" here, I have even done Jacques Martin, "The world is at you" with this song, but that never hung, to leaves in some local radios. But this song is not finished; I will do it on scene, for it extraordinary.
"Chains" had been added on the French pressing of your third album "In Deep" except "Aller Plus Haut" and "Les Trois Cloches", there was also on this album "I Want to Spend My Lifetime Loving You" (editor's note: extracts B.O> of the "Mask of Zorro"), your duet with Marc Anthony, of which said you than this is a "diva"...
Oh yes, Marc is "a total diva" (laugh)! But on scene, I will sing of course "Aller Plus Haut” that is nonetheless a very beautiful song, but also, "Les Trois Cloches", a song magnificent of which I do a very pretty acoustic version; and also "Burn" than the French public very much likes. And then in "live" I will do also "You Are Always There" extracted of "Just Me", but with a new arrangement.
That does a long time that you did not bring up on scene in France...
Yes, but France is a special region, and every day that passes, I discover it more and more...
Which is the first concert of your life that you saw?
The Osmonds, with the brothers Osmond, of which Donnie, and sister Marie. It was the first to utilise of the lasers on scene. I was 7 years old.
This French album does it go out in Australia?
No. That go out some imports, this is all, for the fans.
You return only two times per year over there. You have not anymore of the all of career in your natal country?
This is a career a little stagnant. That does some time that I have not gone out of disc in Australia. I have gone out a "Live" in 2003, that has well worked, and before that "Just Me", that did not be a very big success over there. (editor's note: according to Sony, this album has nonetheless certified disc of now in Australia, and in France)
For "Just Me", three songs had been added specially for France. You would not like go out the same disc everywhere, rather than different versions in each country?
If that irritates me! (Some melts sonorous, one hears "L'Envie" of Johnny Hallyday that passes to the radio). You see, this is that that they like the French!
Which are your projects, while you are an all young mom?
Defend this new single "Baghdad". But it is difficult, for there is too much barriers, of borders in the musical community in this moment, and in particular in the media. To be able to sing my new title to the TV, I necessarily must do a return what's more or recant "To Go Higher". And if you refuse, you are "blacklisted" on the chains. Your appointments counts to which not at all one some arrived here in France?! One will kill the "community" musical, while refusing to give their luck to new songs. I would like go out of this system, but I can not do it all alone.
Did you talk about all that with your father-in-law, the lyricist David Mac Neil?
Indeed, David is my former one-beautiful-father. But I like it a lot, this is a very advanced man. But also feels for him "squeezed" in the current context. It explained me a lot of things on France. And one kept good reports, even if I am separated of his nephew, with which I was for two years. This that did the beauty of my life, to be able to do beautiful meet, and to frequent people of all the horizons. I take positive things in France, to London where I live a little, and in Australia, and this is this that renders happy. The important one this is to express this that one has in itself, to evolve, to take risks, for the stagnation, this is frustration. Even if it is difficult for everyone, in the current context, it is necessary to continue to beat itself for its choices, and this in what one believes, and this is that I try to do, towards and against all.
After the success d' "Love to the Impossible", you go out, in second extracts album "My Name is Baghdad" signed, as the first one, Elodie Hesme and David Gategno. Do you get annoyed that the songs that you write never go out in single?
Yes, that bothers me a little.
It’s your 5th album, 4th album in France, and not on these albums, you write a lot of your songs, notably the music, but doesn't go out in single. Why?
This is not me that decides. More and more, the artists lose the strength and forces for them. One lives in a world where creativity is not anymore the thing more important. This that dominates, this is the race to the "tube", and here, one privileges the authors and French composers. While in Australia, a lot of my own songs took out in single, and with successes.
You finally remained with Columbia-Sony, after having been necessary to leave with Mercury-Universal...
I discussed with of other record companies. I was not satisfied of this that happened with "Just Me" (editor's Note: her last album in English, on which had been added three titles in French on the hexagonal pressing.) I was depressed at that very moment, because I had written a lot of equipment on this disc, and that one did not understand me. And then one imposed me the producers of the French songs, that walks as that here. While at the international level, my choices always were respected. For me, this French exception is very painful, in so as "creator" of songs to which ones I believe and that one does not leave me to defend. (Editor's note: after world-wide failure, and in particular America of her last English-speaking album "Just Me", Tina left Sony Music International. Remained a time without record company, she has finally re-signed in direct with the French branch of Sony, where she is in future an artist "local house").
One does you to record songs in French, specifically for the French market. Nevertheless, the French public likes also the English variety...
Completely. This is a point on which I like to argue. I am persuaded that if one presented my songs in English to the French public, it himself there could accustom and hang. But one replies me always that the French public has specific tastes, that here it is different.
The texts that one does you to sing in French have often more of "sounds" than of "senses" as "Aller Plus Haut" or "Aimer Jusqu’á L’Impossible"
Yes, and that remains in the head of the people, because one there often repeats the same words. But one does not give to the public the choice to listen things more "demanding". That says, in this album that is 100% French, there is four or five very interesting texts, that I like a lot, as "Baghdad", "Simple Desire", "Another Universe" ...
The songs that you signed on this album are they gone out in English beforehand, where itself does it act just French adaptations of unpublished songs?
These are new songs that I wrote in the two last years, and that do not exist in English that in version "Model" for the moment. But I need to write and to compose, to express myself, otherwise I become empty and frustrated at the creative level. There is several times where I failed to abandon all, so I was discouraged
And nevertheless, when you done "Aller Plus Haut" or "Aimer Jusqu’á L’Impossible" that walks...
If that pleases the people, this is that there is a reason: the tune pleases for them. But with "Baghdad", this is the first time that I will sing in French in text that is not... banal (laugh)! That tells something, this is a song that engages and that pleases me a lot.
Is this you that the asked?
No, one presented it for me and I right away cracked over.
Do you understand enough French to choose a text?
Ah, yes! Of course. Not again some to write, even if I can find some sentences or imagine a history in French, but I have not again all the subtleties of the language to write it perfectly
There will it have a pop video for "My name is Baghdad"?
Yes, it already is turned, with the same director, Thierry Vergne
Sony France invests a lot on you, for the pop video of "Aimer Jusqu’á L’Impossible" has cost 88 000 Euros...
Yes, they put the means, and they do the things well. Fortunately for me, I have the support of my record company; they believe in me, I am lucky.
On this album, one rediscovers signatures that already worked for you, as J. Kapler (" To Go Higher") Robert Goldman, are you faithful to your composers?
I am not necessarily faithful. I am faithful to creativity, some does.
In your albums, one always rediscovers a multitude of authors and composers, in English as French...
Sony loves to work as that. This is their manner to do the things. That is not my habit. My team to me is composed from only four persons: my manager, Bruce Pawsey, me, and two friends, that are at London: Paul Guardiani, and Duck Blackwell. This are them that did the production and the arrangements of six titles of the album, of which "AJALI", "Si J’Avais le Temps", "Un Autre Univers" ... They have also remixed "Baghdad" I like to work with them, one agrees well and I find as this as one does together is a little different of the others entitle, realized by of French. The English and the French have a very different knowledge of the sound. But for example, I love the arrangement that did Bernard Arcadio on the duet with Herni Salvador: it has his clean one his to him, timeless "classifies", out method. But in France, there is a lot of authors, composers or producers that well established, well protected, that have them "paw" sunk well closes in the earth, and that "monopolize" all the places and have all the caps. This manner to do is not in my culture.
In the past, you also multiplied the producers on your English albums, and not least: Walter Afanasieff (Celine Dion, Mariah Carey, Michael Bolton. ..), Desmond Child (Dear, Ricky Martin, ...), Mick Jones (Foreigner), or again Nile Rodgers (Chic, Madonna, David Bowie, ...)....
That it was the way to do International Sony. This is an ego thing, one imposed it for me. After the success of the album "Don't Ask" that I did completely with David Tyson, everyone wanted to impose on my discs. And the artist is lost in all that.
This is because of that that your artistic picture was a little jumbled, notably to the USA where your career never did really take off...
Yes, this is exactly that the problem. One will change all that. Little by little. But it is necessary success, to have strength and the force to do something of a little different. Otherwise, the decision-makers remain cynical, and are very difficult to convince. (In English, a little irritated) "We don't live in a free world anymore! We live in has world that's controlled, politically, spiritually, musically..."
At the time of your recent one Paris "Show case", during of which one put back you a disc of now for "AJALI", one see you sung at to accompany you at keyboard. You are a true musician, and nevertheless, one has the impression that you are not “Positioned" that as a singer to voice...
That flatters me and that touches me a lot that you perceived that, for this is exactly that. I am not that a voice, but to do to understand that to a record company, this is very very difficult. I have the impression to beat me alone, and I will always be all alone, to the bottom.
You are not anymore really alone, since John Claude Camus has announced that he was going to be your scene producer...
This not step again is signed, but one will do some dates together to begin, as "Night of the Proms". But here, one announces often the things before they totally are done. ..That says, I want climb on scene, for me this is the better one
You already thought about a room?
My best memories "live" in France are at the Olympia. This is a theatre, intimate, where one sees the imperfections of the artist, and this is very interest. I wait with impatience the day where the French public will see me really on scene, such as I am, with my qualities and my defects.
If you climbed on scene, you would sing songs of each of your albums?
No, I do not sing anymore never nothing of the all first one "Strong have Steel" (editor's note: done not go out in France), for I have not it written, it was well for the era, even a little some advances on his time for the public Australian, that did not be ready. On the other hand, "Don't Ask" represents me perfectly.
The song "Chains" was magnificent, and nevertheless she did not walk here?
Because the tastes his different ones in each country. If it there has well a thing that the time and disappointments learned me, this is that one cannot force the people to like something, even if oneself even one finds that inspired. I tried to defend "Chains" here, I have even done Jacques Martin, "The world is at you" with this song, but that never hung, to leaves in some local radios. But this song is not finished; I will do it on scene, for it extraordinary.
"Chains" had been added on the French pressing of your third album "In Deep" except "Aller Plus Haut" and "Les Trois Cloches", there was also on this album "I Want to Spend My Lifetime Loving You" (editor's note: extracts B.O> of the "Mask of Zorro"), your duet with Marc Anthony, of which said you than this is a "diva"...
Oh yes, Marc is "a total diva" (laugh)! But on scene, I will sing of course "Aller Plus Haut” that is nonetheless a very beautiful song, but also, "Les Trois Cloches", a song magnificent of which I do a very pretty acoustic version; and also "Burn" than the French public very much likes. And then in "live" I will do also "You Are Always There" extracted of "Just Me", but with a new arrangement.
That does a long time that you did not bring up on scene in France...
Yes, but France is a special region, and every day that passes, I discover it more and more...
Which is the first concert of your life that you saw?
The Osmonds, with the brothers Osmond, of which Donnie, and sister Marie. It was the first to utilise of the lasers on scene. I was 7 years old.
This French album does it go out in Australia?
No. That go out some imports, this is all, for the fans.
You return only two times per year over there. You have not anymore of the all of career in your natal country?
This is a career a little stagnant. That does some time that I have not gone out of disc in Australia. I have gone out a "Live" in 2003, that has well worked, and before that "Just Me", that did not be a very big success over there. (editor's note: according to Sony, this album has nonetheless certified disc of now in Australia, and in France)
For "Just Me", three songs had been added specially for France. You would not like go out the same disc everywhere, rather than different versions in each country?
If that irritates me! (Some melts sonorous, one hears "L'Envie" of Johnny Hallyday that passes to the radio). You see, this is that that they like the French!
Which are your projects, while you are an all young mom?
Defend this new single "Baghdad". But it is difficult, for there is too much barriers, of borders in the musical community in this moment, and in particular in the media. To be able to sing my new title to the TV, I necessarily must do a return what's more or recant "To Go Higher". And if you refuse, you are "blacklisted" on the chains. Your appointments counts to which not at all one some arrived here in France?! One will kill the "community" musical, while refusing to give their luck to new songs. I would like go out of this system, but I can not do it all alone.
Did you talk about all that with your father-in-law, the lyricist David Mac Neil?
Indeed, David is my former one-beautiful-father. But I like it a lot, this is a very advanced man. But also feels for him "squeezed" in the current context. It explained me a lot of things on France. And one kept good reports, even if I am separated of his nephew, with which I was for two years. This that did the beauty of my life, to be able to do beautiful meet, and to frequent people of all the horizons. I take positive things in France, to London where I live a little, and in Australia, and this is this that renders happy. The important one this is to express this that one has in itself, to evolve, to take risks, for the stagnation, this is frustration. Even if it is difficult for everyone, in the current context, it is necessary to continue to beat itself for its choices, and this in what one believes, and this is that I try to do, towards and against all.