Universal Music's boss pays unsuitable "tribute" to Georges Moustaki

French singer-songwriter Georges Moustaki died on Thursday at the age of 79.

As you would probably expect from an artist of his stature, there were many moving tributes.

The national daily Le Figaro called Moustaki "un artiste extraordinaire"

On her official page, the minister of culture, Aurélie Filippetti, paid homage to "the man who had composed for some of France's musical giants before revealing himself as a great interpreter of his own songs."

Given Moustaki's roots (both his parents came from Corfu) TF1 took perhaps the more "popular", but nonetheless fitting approach.

Alongside running a segment on Moustaki's career, the channel's prime time news sought the reactions of a couple other famous Greeks (in France).

A tearful Nana Mouskouri sang him a short "message of love" and TV presenter Nikos Aliagas remembered the "sincerity in his eyes".

Outside of France, international news organisations such as the BBC and Deutsche Welle ran pieces on their sites.

And the Director-General of UNESCO, Irina Bokova sent her condolences to Moustaki's family and friends in a statement on her official page.

Inevitably their were also tributes from the famous and the less well known on Twitter, expressing their sense of loss and admiration for the man, or simply linking to videos and performances of their favourite songs.

Everyone, it seemed, wanted to their pay respects to the man and his life - and quite rightly.

Except for one particular person. Pascal Nègre, the head of Universal Music, France - the label for which Moustaki recorded.

 Alongside calling Moustaki one of "the last legends, an artist and a poet" Nègre couldn't, it seems, resist reminding his 35,000 or so followers that Moustaki's works were available on Universal - ending his tasteful Tweet with RIP.

While many might view Nègre's Tweet as inappropriate (and indeed were soon poking fun at it in reply), he couldn't see anything wrong with what he had done.

"Why should I regret it?" he said.  "I paid tribute to an artist we were fortunate enough to produce and I simply gave information that we hold a lot of his musical catalogue."

Well, as you obviously need telling M. Nègre, it's called opportunism. And it's in pretty poor taste.





Georges Moustaki - Le facteur par kyssiane

Chimène Badi - Gospel and Soul at Olympia - or champagne served in a beer glass

French singer Chimène Badi returned to Olympia, that mythical musical venue on Boulevard Capucines in Paris, this week to "treat" her fans to a collection of songs mainly taken from her most recent album - "Gospel and Soul".

It could and should have been a chance for the 30-year-old to prove that the rather mediocre rendition of many of the songs on the album had been down to over-produced studio arrangements and that "live" she would belt out what was a great selection of songs, with passion.

After all, Badi arguably has one of the best voices of her generation. It's powerful and distinctive and you would think ideally suited to both Gospel and Soul.

It wasn't to be the case.

Things didn't get off to the best of starts with fans sitting through a 20 minute warm-up act and then having to wait almost another 40 minutes before Badi made an appearance.

The Paris audience - and let's face it, they're never among the most patient - began the inevitable slow hand clap interspersed with calls for their "star" before...finally the curtain raised and the first chords were struck.

Musically-speaking the choice of "Proud Mary" as an opening number was far from being inspired as it displayed just how lacking in stage presence and charisma Badi really is.

Yes, she has a voice that makes her instantly recognisable, but choosing only half-heartedly to emulate Tina Turner's performance of the Creedence Clearwater Revival song, proved to be her undoing.

Breathless, as she seemed to forget all the lessons she might have learned from her recent appearance in Danse avec les stars, Badi also missed - or failed to make (there's a slight distinction) some of her notes.

It rather set the tone, as far as the English-language songs were concerned, for the rest of the evening.

There was Stevie Wonder's "For once in my life" - best described perhaps as simply karaoke-inspired.

An a cappella version of "Amazing Grace" was...well simply neither "amazing" nor "graceful" - but perhaps it was never meant to be.

Janis Joplin's "Mercedes Benz" was lost amid the "battle" that seemed to ensue between Badi and a band of undoubtedly individually-talented musicans whose volume seemed to have been cranked-up to the max.

Thankfully the late Marvin Gaye and Tammi Terrell are no longer around to hear what Badi did with "Ain't no mountain high enough" and hopefully nobody will tell Diana Ross.

And as far as Otis Redding's "Try a little tenderness" was concerned...well Badi shouldn't even have gone there. It was cringingly embarrassing.

She fared better - it wasn't difficult - with some of the French-language songs.

Georges Moustaki's "Ma liberté", Native's "Tu planes sur moi" and Nicole Croisille's "Parlez-moi de lui"  - all worked pretty well - given how dreadful the English-language songs had been.

Getting it right - "Tu planes sur moi" excerpt

The inclusion of a couple of "favourites" from previous albums such as "Le Miroir" and "Entre Nous" - both given the Gospel and Soul  treatment - will have kept the most loyal fans happy.

Or will they? After all this was far from being the Badi that most of them had grown to appreciate since she was said to have a "Rolls Royce of a voice" by one of the judges when she first came to the public's attention on the now-defunct TV talent show "Popstars"

Really,  Badi - and her management - needs to learn that there's more to Gospel and Soul than dismal cover versions of stand alone originals.

And it's not enough to have six and sometimes a dozen other singers with less-than extraordinary voices, dressed in the appropriate garb and swaying and clapping in accompaniment, for the performance to qualify as Gospel.

Badi will be back at Olympia for three dates in January 2013 when again she'll be subjecting audiences to what can only be described as a rather lame or tame attempt at either Gospel or Soul.

If they - or you - want to hear the real thing - French style - and yes it does exist - then they would be better off trying Nicoletta. Perhaps that's a piece of advice Badi should also bear in mind.

And here's some more.

Chiméne - Yes, you can sing. There's no doubt about that. But no you cannot sing Gospel and Soul - at least not in English because you don't have the voice, the passion or the feel for either.

Stick with French ballads or even uptempo numbers

But please, for the sake of those who really love music and for whom the genres matter - leave well alone.

Quote of the night overheard in the bar just before the show - perhaps an omen of what was to come.

Bar lady: "What would you like sir?"

Customer: "I don't know...I"m torn between a glass of champagne or a beer."

He finally plumped for champagne served, in what appeared to be, a beer glass.

And that's pretty much what Badi did too.

Here's how "Try a little tenderness" should sound.

Friday's French music break - Chimène Badi, Gospel and Soul

Friday's French music break this week comes from a woman with arguably one of the biggest, most resonant and gorgeous voices around on the French music scene.

Chimène Badi (screenshot from "Ain't no mountain high enough" video)

It's the latest album from Chimène Badi, the woman who didn't win the French reality TV talent show Popstars but still managed to build a successful career largely due to her talent.

And this time around she's turned her magnificent voice to Gospel and Soul - an obvious choice really - with the unfortunately unimaginatively entitled album...er..."Gospel and Soul".

Still, at least you know what to expect.

After a build-up like that you would expect a glowing review.

Sadly that's not the case.

While it's clear that Badi has found a blend that suits her voice and the album is well produced, there's a certain grittiness lacking.

Badi's distinctive and instantly recognisable voice is just too perfectly polished and some tracks, such as her version of "Mercedes Benz", come across as Carpenters'-inspired syrupy sweet.

She barely revisits "Amazing Grace" instead giving a tame copy of what has been sung umpteen times before and it simply lacks that certain "oomph" you might be hoping for.

The album is supposed to be, according to her official website, a tribute to those singers and songs who have influenced Badi, both American and French.

There is, for example, Stevie Wonder's "For once in my life", Otis Redding's "Try a little tenderness", Georges Moustaki's "Ma liberté" or Native's (how great it is to hear one of their songs again) "Tu planes pour moi".

And while they're all delivered better than many other French singers around today could manage, they're far from being anything approaching extraordinary.

It's a shame really as Badi most definitely has a voice that could do justice to Gospel and Soul songs - it's just not the case with this album which comes across as just a little too Las Vegas.

Gospel and Soul was released in November 2011 and sales of this, her fifth studio album, have already outstripped those of the disappointing 2010 offering "Laisse-les dire".

Maybe once Badi takes her show on the road again and gives some real live feeling and quality to the songs she's interpreting, they'll become something more than Middle-of-the-road listening.

Judge for yourself with Badi's version of "Ain't no mountain high enough" the second track to be lifted from the album as a single and which sees her team up with US Soul singer, Billy Paul, best known for his 1972 hit "Me and Mrs Jones".