Chantal Goya

Despite an auspicious start in Godard's Masculin-Feminin, Chantal Goya's legacy is closer to Raffi than Jean Seberg. Originally a ye-ye girl -- much like the one she played in Godard's film -- she released pop records and appeared in movies until 1975. Then, along with her husband and writing parter Jean-Jacques Debout, built a successful career performing songs for children, complete with elaborate stage design, costume and animation. Her ubiquity was enough to warrant a line of toys, and a ton of records, including numerous crossovers with the likes of Mickey Mouse, Tintin and Babar.

One thing that's endeared her so much to me is the plainness of her voice. She lacked the bratty delivery of France Gall or the throaty sexuality of Francoise Hardy. Instead, she sounds very small in her songs, due in part to the songs' production and in part to the timidity of her singing. There are parts in "Ce Soir On Danse" (a harrowing tale of setting up a dance party) where she is clearly off-key and is shouldered through the end of the bridge by the backup singers. Still, I find this charming and a bit sexy (lord knows my history with quiet, awkward girls).

Still, there's something undeniably appealing about these songs. The opening drumbeat on "Tu M'as Trop Menti" sounds years ahead of its time. She may have been one in a long line of Gainsbourg's chanteuses, but managed to transcend the propped-up, Tammy-style theatrics that were often the result.

Chantal Goya -- Ce Soir On Danse
Chantal Goya -- Lasse-Moi
Chantal Goya -- Tu M'as Trop Menti
Chantal Goya -- Une Echarpe, Une Rose

and one from her current repertoire

Chantal Goya -- Ce Matin un Lapin