Here you can download free serge gainsbourg shared files found in our database: Serge Gainsbourg Les Annees Psychedeliques (1966 1971).rar mediafire.com serge. Our goal is to provide high-quality PDF documents, Mobile apps, video, TV streams, music, software or any other files uploaded on shared hosts for free! Download legal MP3 albums from Serge Gainsbourg at eMusic. Albums starting at $5.99 and songs starting at $0.89. English actress and singer located in France since the late 1960's. Born 14th of December 1946 in London, England A bit of a It-girl during the swinging sixties she appeared in two of the defining movies of the era: Richard Lester's 'The Knack. And how to get it' and Antonioni's 'Blow Up'.

1. Serge Gainsbourg Movie

During the '90s, discovering Serge Gainsbourg was a record geek rite of passage. His album covers were tantalizing—Histoire De Melody Nelson, the 1971 LP that may very well be his best, suggested carnal sophistication—and his music recalled a communal past, one that may have existed only on celluloid but was no less keenly felt because of it. That cinematic quality made him ripe for samples. Massive Attack and Portishead both relied on his work, following a path first set by De La Soul, while indie bands (Yo La Tengo, Blonde Redhead, Tame Impala) and singer-songwriters (Jarvis Cocker, Beck) alike also found the majesty of Gainsbourg's work not just appealing, but irresistible.

For a long time, Gainsbourg's music was difficult to find, which only made it more appealing. It existed on old vinyl or perhaps expensive imports prior to three 1997 compact disc reissues, the best of which is Comic Strip, which focused on his weird, wild obsessions with Americana. Now, his complete work is easy to find, but the musicians who found inspiration in Gainsbourg remain beholden to the sense that his music isn't meant to be easily accessed. It's supposed to be a code, the allusions a sly acknowledgement that they're in on a secret that you may never know.

That secret has only grown in the quarter century following Serge Gainsbourg's death on March 2, 1991. His passing arrived at a moment when his cult lay at something of a fallow period. Like so many great raconteurs and eccentrics, the '80s were a bit hard on him. He struggled mightily, dressing in drag for the cover of 1984's Love on the Beat, remembered best as the home of 'Lemon Incest,' a song that would've raised eyebrows even if he hadn't sung it with his 12-year-old daughter Charlotte. Gainsbourg wound up doubling down on his lecherous old perv image, confounding Whitney Houston in 1986 when he shared a stage with her on a French talk show, confiding to the host in French that he wanted to fuck the American pop singer—the kind of disgusting moment that would've been a guaranteed viral sensation in the 21st century. Serge Gainsbourg just wasn't made for these times, but that doesn’t mean his music isn’t.

Even if he was happily a creature of the mid-20th century, inspired by the poetry and pop art that surfaced in the wake of World War II, Gainsbourg's influence has reached far and wide in the years since his death, his acolytes drawn to his work because it represents a specific moment in time that it also transcends. Maybe Gainsbourg's music seems out of time because he always existed on the outside, drawing inspiration from the upheavals in the United States and the United Kingdom, operating at enough of a remove to function as dry satirist while remaining keenly aware of the base pleasures of pop music.

Base pleasures became something of a speciality for him. Fulfilling the cliche of the continental hedonist, Gainsbourg wore sleaze as a badge of honor, pushing at the limits of sexual liberation at the height of the sexual revolution. But he was equally enamored with the hard bop angles of bohemians and fantasies Hollywood peddled on the silver screen. His love of pop wasn't indebted to the mass factory of Andy Warhol; he was in the school of Roy Lichtenstein, enthralled by comic books, B-movies, and bubblegum.

Eventually, Gainsbourg's Americana came to be seen as quintessentially European—or, at the very least, something more sophisticated than the hard-edged division of rock and pop that arose in the years after punk. Still, punks loved him, maybe because he played like a punk, always cocking a snook toward the very notion of propriety. Not long after his death, he started to become hip again, a shared reference among the cognoscenti, his influence surfacing on in places both expected and surprising.

Tracing through Gainsbourg's disciples, one striking thing is how each of the musicians hear something different within his work, or perhaps the same song. Certain tracks are frequently covered or sampled—the Brigitte Bardot duet 'Bonnie and Clyde,' 'Cargo Culte,' 'Ford Mustang,' 'En Melody'—but even familiar loops, like the elastic stuttering refrain on 'Bonnie and Clyde,' feel drastically different in shifting contexts. Some acts are attracted to the sheer sound, others to the roiling undercurrent of sleaze, others find inspiration in the arch appreciation of pop art or perhaps Gainsbourg's underpinnings in poetry and jazz as signifiers of sophistication. Whatever path his followers chose to pursue, taking stock of 25 artists who've drawn inspiration from Gainsbourg in the 25 years following his death is a sure way to reckon with the vastness of his legacy.

Stereolab, 'Ping Pong'

Deft, dense, and saturated in '60s pop culture, Stereolab mirrored Gainsbourg's immersion at the intersection of high art and ephemeral junk. Compositionally, their songs were fleet yet complex but they, like Gainsbourg, never seemed to take sophistication too seriously. Plus, Sterolab's Laetitia Sadier played Brigitte Bardot to Dean Wareham's Gainsbourg on Luna's 1995 cover of 'Bonnie and Clyde.'

Beck, “Paper Tiger”

Beck is the rare singer-songwriter who is as attracted to sound as he is song—a trait that runs throughout Gainsbourg's work. Beck also sampled Gainsbourg frequently—the hazy 'Paper Tiger' samples Cargo Culte, while 'The Horrible Fanfare' sampled 'Requiem Pour Un Con'—but his enduring debt to SG remains how he blurs the line between sensitivity and satire.

Massive Attack, 'Karma Coma'

Several old Serge Gainsbourg records seemed to predict the woozy, cinematic sway of trip-hop, so it's no surprise that one of the sound's originators found inspiration in his work: 'Karma Coma' samples 'Cargo Culte.' But Massive Attack doesn't merely sample SG, they expand upon his style, where sex carries equal amounts of allure and danger.

Pulp, 'Babies'

Like Gainsbourg, Pulp's Jarvis Cocker mines a territory where sex and art exist in on the same astral plane; they can be twin obsessions that feed one another. Cocker walks right upon the edge of taboo but not for shock value: He finds sadness and wry joy within sex, a move he perhaps learned from SG.

Mick Harvey, 'Louise'

An early acolyte of SG's work, the Bad Seed decided to go solo in 1995 with Intoxicated Man, the first of his two Gainsbourg cover albums sung in English. By faithfully yet playfully paying tribute to a primary idol, Harvey wound up discovering his own solo voice, one that found sustenance in the seedy sophistication of Serge.

Air, 'Sexy Boy'

While they never quite slid into the debauchery Gainsbourg adored, Air specialized in a louche sexiness that can be traced back to him. This is especially true early in their career, when the French duo balanced electronica futurism with a fetish for '60s style.

Portishead, 'Glory Box'

Like Massive Attack before them, Portishead pioneered trip-hop partially through a debt to Serge Gainsbourg. They narrowed in on his cinematic flair, seizing upon the melodrama within his arrangements. Such sensibilities gave their 1995 breakthrough 'Glory Box' a trippy seductiveness that exists somewhat out of time. By consciously recalling SG's '60s albums, it evokes a bygone era of sensuality while also feeling futuristic in how it plays with that past.

Blonde Redhead, '23'

Blonde Redhead's dense, ethereal nature often echoes the spacey sadness that flows through Serge Gainsbourg's music. It's a quality achieved through the soft, airy vocals and open-ended verse underpinned by dense, intellectually funky rhythms—tricks they learned from SG and tie together on '23.'

Stereo Total, 'Relax Baby Be Cool'

Few indie bands of the last 20 years can lay claim to the legacy of Gainsbourg like Stereo Total. More than most, they played up the swinging pop art aspects of Gainsbourg. They covered him plenty, too, playing his songs with reverence and humor, qualities they retained through their originals.

Feist, 'The Limit To Your Love'

Vocally, Feist can sometimes recall the breathiness of Gainsbourg's duet partner Bardot, but her songs bear a distinct debt to SG's style. There's an understated jazzy undercurrent that's happily skewed by her playful sense of rhyme.

De La Soul, 'Talkin' Bout Hey Love'

Always trailblazers, De La Soul got to Serge Gainsbourg samples first, working two into 1991's landmark De La Soul Is Dead, an album recorded just before SG's passing. They found the funkiness within 'Les Oubliettes,' working it into 'Talking Bout Hey Love' and turning it into something that resembled the spangly elasticity of '70s soul, finding their own voice within Gainsbourg's own eccentricity.

Mr. Bungle, 'Violenza Domestica'

Eccentricity is hard-wired into Mike Patton's DNA, so it's little wonder that he was attracted to how Gainsbourg pushed at the boundaries of what was acceptable and in good taste (certainly at times SG was not). Sometimes, it was hard to tell whether Gainsbourg was joking or not, a quality Patton mirrored in both Faith No More and Mr. Bungle.

Luna, 'Moon Palace'

Dean Wareham always demonstrated an affinity for moodiness—it's what fueled so much of Galaxie 500—but in Luna he threaded in some of Serge Gainsbourg's sex and elegance as well. On 1995's Penthouse, the band covered 'Bonnie & Clyde' with Stereolab's Laetitia Sadier playing the part of Bardot but while on tour, Wareham sang the song with Britta Phillips, a duet that seemed to help nudge their professional relationship along towards romance.

Tindersticks, 'Like Only Lovers Can'

If any artist of the last 20 years is faithful to the powerful sense of ennui that pulsates within Serge Gainsbourg's work—particularly that of *Historie de Melody Nelson—*it's the Tindersticks, who specialize in slow, languid verse where all the promise of this world seems tarnished.

Kylie Minogue, 'Sensitized'

One of the secrets of Kylie Minogue's success is how she slips the unexpected into the mainstream. In her hands, 'Bonnie And Clyde' turned sleek, an appropriate foundation for the the sexy pulse of 2007's 'Sensitized.'

Carla Bruni, 'Quelqu'un m'a dit'

Serge Gainsbourg worked with actresses and models with musical side projects—and such is the case with Carla Bruni, the model and musician who wound up married to French president Nicolas Sarkozy. As a singer-songwriter, she walks the fine between coffeehouse crooning and Euro-cheese, a blend that Gainsbourg often found irresistible.

Charlotte Gainsbourg, 'Jamais'

As Serge's daughter, Charlotte Gainsbourg's debt to SG obviously resides within her blood—plus she also controversially played his foil on the scandalous 1984 single 'Lemon Incest'—but her music can also match her father's for sensuous suggestion: She hints at a world that's sexier and sadder than ours.

MC Solaar, 'Nouveau Western'

One of the pioneering French hip-hop artists of the '90s, MC Solaar paid tribute to Serge Gainsbourg by sampling 'Bonnie And Clyde' on 'Nouveau Western,' a move that gave his music a distinct, defiant continental flavor while also demonstrating the funky flexibility of SG's records.

Clinic, 'I'm Aware'

Clinic capture the sinister pulse that flows through some of Gainsbourg's work. They also channel that sense of unease into moments that are considerably brighter, including the bustling 'I'm Aware.'

Yo La Tengo, 'Moby Octopad'

Last year, YLT's James McNew claimedHistoire De Melody Nelson was one of his pivotal influences, citing how it 'instantly creates its own universe.' Given how Yo La Tengo's music often appears homespun, Gainsbourg might initially seem like an odd forefather to the indie rock stalwarts, but listen again to how the band grooves along to a cool, sophisticated pulse and the connection becomes clear.

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Serge Gainsbourg Movie

Tame Impala, 'Apocalypse Dreams'

The current kings of psychedelia, Tame Impala pull from the mischief of Gainsbourg's '60s records. It's a matter of vibe but also unexpected left turns, the sense that the atmosphere could be either deepened or punctured at a moment's notice.

Iggy Pop, 'I Want To Go To The Beach'

When Iggy Pop decides to get serious, he sometimes decides to slide into European ennui, a move likely inspired by Gainsbourg. He indulged in this love heavily on 2009's Preliminaires, a moody, jazzy affair highlighted by 'I Want To Go To The Beach' which is, by any other name, a salute to SG.

Beach House, 'Wishes'

Victoria Legrand can recall the breathiness of either Jane Birkin and Brigitte Bardot, Gainsbourg's two main muses, but Beach House also trades upon the heightened sophistication of SG's compositions, lending the group's music an unearthly yet seductive shimmer.

Angelique Kidjo, 'Ces Petits Riends'

A singer of exquisite taste and sly elegance, Angelique Kidjo never limits herself to any particular style or country, but being that Paris is her homebase, it's not a surprise that she has covered Gainsbourg. Her version of 'Ces Petits Riends' underscores her shaded, textured phrasing and also suggests how SG's cafe jazz is a crucial part of her identity.

Marc Ribot, 'Black Trombone'

Gainsbourg's catalog lends itself well to jazz: It's moody yet composed, ready to be opened up by instrumentalists. By covering 'Black Trombone' on the 1997 John Zorn-produced Gainsbourg tribute Great Jewish Music, guitarist Marc Ribot demonstrates a facility with SG's catalog and also covers it with perceptive smarts.