Vanessa Paradis Albums (8)
What The Critics Say
Still best -- heck, pretty much only -- known in the United States as Mrs. Johnny Depp, French singer and actress Vanessa Paradis has been a star in her native country since she was a teenager who had several pop hits back in the late '80s. As an adult, Paradis has taken her time in between projects; Divinidylle is her first album in over five years. (Those who require English-language touchstones for their foreign rockers: think of a more accessible and pop-oriented version of Kate Bush.) A straightforward but eclectic pop album ranging from the steel guitar-inflected atmospherics of "Les Revenants" and the haunting piano-and-strings ballad "Junior Suite" to the sunshiny '60s pop feel of "Divine Idylle," the organ-driven rocker "La Bataille," and the modern R&B sway of "L'Incendie," Divinidylle has no pretensions beyond pure entertainment. At its best, as on the clever, lavishly arranged single "Chet Baker" and the flirty duet with Mathieu Chédid "Les Piles," it's among Paradis' strongest works, and it's a far more consistently entertaining listen than many of her early albums, which tended toward the spotty. In fact, Divinidylle is likely Paradis' best album yet. ~ Stewart Mason, All Music Guide
'Vanessa Paradis Au Zenith'
Release Date 11/8/2001
Tracks 19
Label Polygram
See Album Tracklist and Review
What The Critics Say
For those who thought the star of the lithe and nubile French chanteuse Vanessa Paradis had waned when she turned 20, think again. At the age of 29 she appeared at the Zenith in Paris with a crack band that included the Attractions' Steve Nieve on keyboards. And as this set will attest, she tore the joint to shreds. Sure, the hits are here so that lowers the ante, but given how easy it would be to run through the classics for a live record, this is remarkable. From the gorgeously staged duet intro with Nieve to the crunching guitars that usher in "L'Eau et le Vin," with its funky horn breaks and roots rock guitar riffs, Paradis knows how to stage a show in front of the hometown crowd. Nieve is especially valuable here because of his many sounds on the keyboard and his effectiveness as a musical director. On the jazzed-up version of Lou Reed's "Walk on the Wild Side," Nieve keeps the band in the pocket until he needs them to cut loose to prop up a subtly delivered vocal. When they do kick it, they put the track in overdrive. The version of "Joe le Taxi" is more than passable after all these years, and dueling guitars and horns kick up the delivery a notch or two. But the finest moments here are the stirring, funky version of Serge Gainsbourg's "Requiem Pour un Con" and the rollicking "Commando." To be sure, one would never think she could rock this hard. In all, this is a fine set from someone listeners don't hear enough of on this side of the Atlantic. ~ Thom Jurek, All Music Guide
'Variations sur le Meme T'Aime'
Release Date 1/1/1994
Tracks 12
Label Polygram
See Album Tracklist and Review
What The Critics Say
French pop star (and significant other of Johnny Depp) recorded her English-language debut record in 1991; the self-titled disc was a bit of a flop commercially, but, surprisingly, succeeds artistically. Producer Lenny Kravitz gives Vanessa Paradis some of his best songs and she really can carry a tune with her breathy little-girl vocals. The highlights of the record are many, but the songs that will have you smiling like a fool at the sheer poptasticness of it all are the gliding funk with orchestra of "Natural High;" the strutting girl group of "Be My Baby;" the sweet-as-sugar sunshine pop of "Sunday Mondays;" the psych-soul of "Your Love Has Got a Handle on My Mind" (which features Paradis' most assured vocal and a nice background assist from Kravitz); and the sweet soul of "Just as Long as You Are There." Even her cover of the Velvet Underground's "I'm Waiting for the Man" works wonders. It really shouldn't, but the propulsive beat and Paradis' sexy vocals somehow do the trick. The only song that falls flat is the autumnal folk of "Silver and Gold," as the ultra-serious lyrics and tone are painfully out of step with the glitter and groove of the rest of the record. Kravitz should be praised for his wonderful production. He rarely makes a wrong move and provides wonderful settings for Paradis to shine. It is too bad they didn't make more records together. Johnny Depp's gain is pop music's loss. Odds are there will never be a deluxe reissue (sadly), so you will have to seek this out in used stores and bargain bins. ~ Tim Sendra, All Music Guide
What The Critics Say
Vanessa Paradis' pleasantly understated 1987 debut propelled the then 16 year old into modeling, acting, and further singing when the single "Joe Le Taxi" became an unlikely international hit. She would go on to become a French national treasure, date Johnny Depp, and be Lenny Kravitz' 1970s AM radio muse on a memorable English-language effort. But disregarding all of that, M & J is a remarkably solid album, driven steadily along by lite-pop arrangements and Paradis' disarming vocals. She's not an accomplished singer; at the same time, her wispy, girlish voice nestles perfectly into the album's clutch of head-nodding numbers. "Maxou"'s simply sunny piano flirts with a wide-eyed, almost naïve vocal; it's easy to imagine a black-and-white, silent movie sequence where the beguiling Vanessa is pursued through the streets of Paris by a luckless suitor. Paradis sashays her way across "Mosquito"'s slight new wave groove and sells the Latin cabaret feel of "Marilyn & John" with aplomb. But it's the wistful "Joe Let Taxi" where she really shines, since the track's sax-laced slow burn is the perfect foil for her fetching delivery. Remember in Tom & Jerry when Tom floats on the intoxicating drift of his true love's perfume? That's what this entire album makes you feel like. ~ Johnny Loftus, All Music Guide
