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1 FemaleOrigin
ParisGenre
Singer SongwriterStyle
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1962
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1985 to Present...
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"I want to age in a hurricane, Before everything is ruined, to age in hectic terms, Before I no longer exist ...". There is undoubtedly a flavor of Mouloudji at Juliette. A not so innocent comparison since the two artists have in common the same Kabyle and Parigote strain and references from both Saint-Germain-des-Prés and Tizi-Ouzou.
Born Juliette Noureddine on September 25, 1962, the girl has something to take care of since her father is a saxophonist. After a few years spent in a private institute, Juliette, who developed a passion for the classical repertoire of French song, began studying musicology which she stopped very quickly. Her path does not pass through the University, but through the bars of Toulouse, in which she confronts the first audience by interpreting before them the great successes of Piaf, Barbara, Boby Lapointe or Jacques Brel.
Well-versed in song (due to her father's professional knowledge, she had the opportunity to be Robert Boulez's sparring partner), Juliette aims to set Les Fleurs du Mal to musicof Baudelaire. If this project does not succeed, the inspiration she draws from the verses of the great Charles follows her everywhere and constitutes one of her artistic engines. Whether accompanied by piano or accordion, Juliette sings poets, puts George Sand, Frédéric Chopin or Afred de Musset in verse to pay tribute to them by forgetting to add a good touch of gauloiserie to her texts.
In 1985, Juliette participated in the Printemps de Bourges with the qualification of “young talent”. This participation in one of the major music festivals in France allows him to record his first album, Juliette, a live from a recital at the Théâtre des Mazades. Today disappeared, this cassette (which has never been converted to CD format) has become a pearl of collectors. But this first album was hardly followed by success and the chubby singer must once again roam the boards of cabarets and theaters, refining her titles and compositions, making a name for herself in the somewhat underground song world, multiplying the concerts confidential in Germany, France and Quebec before, finally, interest a record company, in this case, Polydor.
It was in 1991 that ¿Que Tal? , her first "official" album, in which she deploys a large part of her past compositions, like "Le P'tit non" ,"Sentimental hangman", "Les Romanichels" or an astonishing cover of "L'Homme à la moto" , a title which made the album known. If she sells little, she produces a lot and gets noticed by the writer Frédéric Dard who finds himself in this kind of playful and epicurean bérurière, whose writing reminds him of his own.
Irresistible , in 1993 was more successful than his first album; the singer shows herself more "parigote" there than ever, recalling the great hours of Saint-Germain-des-Prés and the cabarets of the Left Bank. "Monocle and hard collar" , "Les Lanciers du Bengale" or "Monsieur Vénus"are all songs accompanied by the piano or the accordion which give off a sweet scent of nostalgia and Parisian cobblestones. The Charles Cros Academy, where Frédéric Dard also sits, is not mistaken and makes him its winner of the year for the qualities of his writing. Juliette's Paris is a bit like Piaf's Paris drawn by Tardi that the heroine would visit with Nestor Burma and the commissioner San Antonio. Fashion is not yet on the new French scene, but Juliette, nominated in 1994 for the Victoires de la Musique, then acts as duenna there.
While in the middle of the decade, the media only have eyes for the plastic of the Spice Girls or the singers in Italian-dance playback, Juliette, totally at the opposite of fashion, succeeds in doing its hole in the middle of French singers with texts.
In 1995, Juliette Chante aux Halles , recorded at the Auditorium of the Forum des Halles in Paris, was the second live performance of her career. Juliette speaks there as much as she sings, playing the card of complicity with her audience. Invoking the spirits of Robert Desnos or Frédéric Lopez, of which she interprets certain pieces, the interpreter replet reveals her true sadness hidden behind a feigned joviality, recalling in this the spirit that animated François Hadji-Lazaro during the Pigalle adventure .Female Rhymesthe following year, confirms Juliette's growing success with an audience that loves songs with texts that evoke pell-mell love, depression, anxiety and epicureanism. If the register of the oil is as black and red as that of a Damia of the great era, the tone, it is sometimes intended to be more playful and lighter. If the singer leans clearly to the left, she does not however scatter her texts, containing herself to evoke the concerns of time with a slight touch of depressive irony. However, despite her opinions displayed, on stage, she is the Patroness as she enjoys being called by her musicians.
Less attracted by the gold of the Republic than by the wine merchants of Montmartre, Juliette continued her momentum as if nothing had happened but remained a firm requirement in terms of writing. No question of relaxation or sloppy texts on the pretext of notoriety. Assassins Sans Couteaux , in 1998 is an album both poetic and political, in which we find some influences drawn from the side of Bernard Dimey or Boby Lapointe.
"The Red Star" , "La Ballade d'Eole" , "Francisco Alegre" or "The Prince of the Amphorae"are clearly in the orbit traced by the chansonniers of old Paris and one could almost qualify the album as an authentic postcard of a bygone Paris or see the silhouette of a song appear Gavroche or Adèle Blanc-Sec. Dry whites on which Juliette does not spit, a great lover of wine before the Lord. This album, one of his most popular, earned him the recognition of a large audience and, for the first time, Juliette performed at the Olympia in front of a large audience. In 1997, a Victoire de la Musique as a female revelation of the year, saluted the journey of an extraordinary artist.
In 2002, Le Festin de Julietteconfirms the success of an atypical artist. Out of the shadows, the singer is now a public figure. Participating in a few shows, Juliette and her physique are solicited as much by television as the cinema. Appearing in Carnages , by Delphine Gleize, Juliette continued the following year with a small role in The year of my seven years, by Irene Jouannet. It is in 2003 that Noureddine takes under his wing a small young person hardly out of his reality TV show, Olivia Ruiz (future companion of Mathias Malzieu, of Dionysos).
For this little piece of chocolate woman, Juliette composes "J'aime pas amour" and "La Petite voleuse" before taking part in the show Heroic Fantasyand to release the concept album Mutatis Mutandis (2005), built on songs whose titles and lyrics are inspired by Latin quotes. For the first time, the singer uses Andalusian and Latin American rhythms on her frankly Germanopratin compositions.
Participating in the adventure A Table , the album of the aptly named Nicolas Bacchus, Juliette demonstrates her visceral epicureanism before going back to the studio for the needs of Bijoux et Babioles (2008), an album not hateful, but severely caustic, where she sings Pierre Dac ( "Hateful Tyrolean" ) as well as François Morel ( "Rabbits" ).
More spicy than ever, Juliette returned to the charge in early 2011 with the album No Parano in which she took over Serge Gainsbourg ( "Les Dessous chics" ), Carlos Gardel and Salvatore Adamo, as well as her own title "Qué Tal? " . Other songs illustrate this success, the single "Le Petit vélo rouillé" and the bite "The Single" . In parallel to the Maxi monster show that she stages, Juliette offers in September 2013 an album always earthy and varied called Nour ("light" in Arabic, linked to his surname) from which is extracted the simple "The Devil in the bottle" . Two years later followsThe Indians Are in the West (2015), based on the concept of westerns.
In 2016, a new complete of fourteen discs (including one made up of rarities) appeared and included the very rare concert Juliette Chante Aux Halles (1987), as well as an unreleased recital given at the Grand Rex in 2005. In 2018, the album J'Aime Pas la Chanson includes in particular the title track and the extract "Marine weather" .
Benjamin D'Alguerre
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