Téléphone

若說起法國搖滾的先鋒，就不得不提當年殿堂級的樂隊： Téléphone（直譯“電話”）和它的主唱 Jeans-Louis Aubert (讓.路易.歐貝)。去年就是歐貝近三十年搖滾生涯的又一個顛峰，新專輯《Idea Standard》和單曲《Parle moi》出現(xiàn)在所有的電臺和排行榜上，備受好評，歐貝本人也提名年度Victoire最佳歌手，電視里又?？吹剿贻p頑皮的笑容。
Jean-Louis Aubert 1955年生于Ain一個嚴格的政客家庭，從小由保姆撫養(yǎng)，隨后全家搬到巴黎居住。在父母的眼里，他從小就是個充滿叛逆性格的男孩，以至于17歲那年，讓路易不顧父親的反對，孤身前往美國，開始了身背一把吉他，追逐他的偶像'Rolling Stones'(滾石) 的音樂生涯。
幾年后，歐貝回到巴黎，和Richard Kolinka，Daniel共同組建了第一只樂隊 Semolina，推出第一張專輯《Et j'y vais déjà》，以及全法四十五場循環(huán)演出，大受歡迎，兩首單曲“Et j'y vais déjà"和 "Plastic rocker" 也成了如今的金曲。
1976年，樂隊的成功，又加入了兩名新成員Louis Bertignac 和 Corinne Marienneau，更名為‘Telephone’，法國流行音樂史上最偉大的搖滾樂隊誕生了。整個七十年代末到八十年代，Telephone成為法國年輕人最崇拜的組合，他們把美式搖滾，與法國Chanson傳統(tǒng)，以及雷滾，電子的風格，美妙的結合起來，抓住了那個時代的激情。Métro, c'est trop， La bombe humaine， Un autre monde，Cendrillon， Le jour s'est levé等單曲成了排行榜上的?？?，那十年里，法國年輕人的音樂不再是叔叔級的Johnny Halliday，而是更加叛逆的‘電話’，就連此時的法國電影，都常把他們的音樂用作配樂背景，看作68年傳統(tǒng)的延續(xù)和新時代的精神（例如蘇菲.瑪索著名的處女作《La Boum/初吻》）。
在成功推出五張專輯和無數(shù)暴棚的現(xiàn)場演出后，1985年，這只偉大的樂隊由于各種原因，終于還是解散了。第二年，讓路易以一首單曲細碟‘Juste une illusion’和第一張個人專輯《Platre & Ciment》開始自己的單飛生涯，但他并沒有完全離開那些伙伴，這首單曲依然是成員Richard Kolinka的譜曲。
從1987年至今，讓路易.歐貝一共推出11張CD和現(xiàn)場Live，風格也發(fā)生改變，越來越感性，不再用過度的喧鬧來沖淡旋律，這固然是由于全世界流行音樂環(huán)境的變化，同樣也是他年齡的增長和對音樂理解的升華。1992年的專輯《H》就是他力圖變化的一種嘗試，以及2003年的《Sur la route》，作為前輩的讓路易慧眼識人，在專輯中與新人Raphael合作，而Raphel則在這兩年之后，迅速成為了法國樂壇最有前途的歌手。
讓路易.歐貝算來已經(jīng)年過半百，因為搖滾而永遠年輕，他的偶像‘滾石’如今也還在樂壇馳騁，而他同樣用一首《Parle-moi》告訴世人，他將用手中的吉他，和蒼碎的嗓音，繼續(xù)探索自己的搖滾道路。
by Jason Ankeny
Telephone fused the swagger and energy of hard rock with the urban aggression of punk to emerge as the most admired and influential French band of the post-student revolt era. Their roots lie in Sémolina, an unheralded trio formed in late 1975 by singer/guitarist Jean-Louis Aubert, bassist Daniel Roux, and drummer Richard Kolinka. When their lone WEA single, "Et J'y Vais Déjà," vanished upon its mid-1976 release, Sémolina quickly split; Aubert and Kolinka remained roommates, however, frequently jamming in the cellar of their Paris home.
In late autumn of 1976, Kolinka secured a gig at Paris' American Centre, but when his regular band was unable to commit to the date, he and Aubert recruited Louis Bertignac, a gifted guitarist previously known for supporting singer Jacques Higelin, and bassist Corine Marienneau to assemble a set list comprised of classic rock hits and Aubert's first original compositions. On November 12, Telephone made their debut performance, playing a largely improvised set to a few hundred patrons; loud, snotty, and defiantly primitive, the band effectively reinvigorated French rock in one fell swoop. Though by no means the classic frontman, Aubert nevertheless transcended his limits as a vocalist and guitarist with sheer aggressive energy, becoming the poster boy for a new generation of French rock icons, while Bertignac's raw, electrifying guitar solos evoked antecedents from Keith Richards to Jimmy Page.
After a famously raucous March 1977 appearance at the Paris Metro, Telephone toured in support of British act Eddie & the Hot Rods, followed by a date opening for the seminal American band Television. A June 8th performance at Paris' Bus Palladium yielded Telephone's debut single, "Hygiaphone." Six weeks later, the quartet signed to Pathé-Marconi, teaming with producer Mike Thorne for its self-titled debut LP, issued in November. Telephone supported the album's release with their first headlining tour, culminating in a free show at Paris' Pantin racecourse. With their 1979 sophomore effort, Crache Ton Venin, Telephone rocketed to superstardom -- the single "La Bombe Humaine" emerged as a generational anthem, and the album sold in excess of 600,000 copies, capped off by a performance at the annual Fête de l'Humanité in front of an audience of more than 100,000 people. Tours of Italy, Spain, and North America followed, and while in New York, Telephone began work on their third album, 1981's Au Coeur de la Nuit, which generated the smash single "Argent Trop Cher." The quartet returned home in time for the premiere of Telephone Public, a documentary feature directed by Jean-Marie Périer, previously known as the longtime photographer for the pop magazine Salut les Copaines.
With their contractual obligations to Pathé complete, Telephone leveraged their enormous popularity to negotiate a lucrative new deal with Virgin. Highlighted by the single "Ce Soir Est Ce Soir," their fourth album, Dure Limite, hit stores in conjunction with their June 14, 1982, Paris concert in support of the Rolling Stones. During the headlining tour that followed, Bertignac broke his collarbone in a fall, but Telephone still played the majority of dates, culminating in a sold-out three-night stand at the Paris Hippodrome. But creative dissension began to grow, and breakup rumors reached a fever pitch in the wake of 1984's Un Autre Monde, as all four members of Telephone began to pursue solo projects; while Aubert contributed to an Ethiopian benefit LP recorded by the all-star Chanteurs sans Frontiéres, Marienneau wrote music for the Luc Besson film Subway, and Kolinka founded his own label, Kod.
Finally, in April 1986 Aubert announced the band's demise -- a subsequent live LP proved a bestseller around the same time he and Kolinka reunited with Sémolina bassist Daniel Roux under the name Aubert 'n' Ko, releasing the funk-inspired album Platre et Ciment in 1987, while Bertignac and Marienneau formed Les Visiteurs. With Kolinka still in tow, Aubert began his solo career in earnest with 1989's Bleu Blanc Vert, while Bertignac launched his post-Visiteurs career with 1993's Tony Visconti-produced Elle et Louis. Only Marienneau left the music business, focusing instead on theater.