Avec le temps (Léo Ferré song)

"Avec le temps" ("With time") is a 1970 song written, composed and sung by the French artist Léo Ferré. It was recorded in October 1970 for volume 2 of his Amour Anarchie album, but the record label dismissed the song, seen as not suiting the general mood of others songs.

"Avec le temps"
Single by Léo Ferré
B-side"L'Adieu"
Released1970
Recorded21 October 1970[1]
Length4:28
LabelBarclay
Songwriter(s)Léo Ferré
Producer(s)Richard Marsan
Léo Ferré singles chronology
"La The Nana"
(1970)		 "Avec le temps"
(1970)		 "La Solitude"
(1971)

It was first released as a 45, then on a compilation LP in 1972 called Avec le temps : Les chansons d'amour de Léo Ferré.

This tragic and beautifully sad love song, inspired by Ferré's own disenchantment and recent breakup, was an instant classic. It is one of his most famous songs (along with Paris canaille, Jolie Môme, C'est extra), becoming with time the most constantly covered French song worldwide.

Single cover

The cover photography is by the photographer Patrick Ullmann.

Personnel
  • Danielle Licari: vocals (uncredited) on "L'Adieu".
  • The orchestra consists of session musicians hired for the recording.

Production
  • Arranger & conductor: Jean-Michel Defaye
  • Engineering: Gerhard Lehner
  • Executive producer: Richard Marsan

Covers and adaptations

Avec le temps was performed, among others, by: Céline Dion, Jacques Brel, Bernard Lavilliers, Hiba Tawaji, Catherine Sauvage, Dalida, Philippe Léotard, Renée Claude, Henri Salvador, Catherine Ribeiro, Juliette Gréco, Alain Bashung, Michel Jonasz, Belinda Carlisle, Abbey Lincoln, Mônica Passos, Bertrand Cantat, Youn Sun Nah, the duet Brad Mehldau and Anne Sofie von Otter, Johnny Hallyday, Tony Hymas...

gollark: ?tag bismuth1
gollark: ?tag blub
gollark: ?tag create blub Graham considers a hypothetical Blub programmer. When the programmer looks down the "power continuum", he considers the lower languages to be less powerful because they miss some feature that a Blub programmer is used to. But when he looks up, he fails to realise that he is looking up: he merely sees "weird languages" with unnecessary features and assumes they are equivalent in power, but with "other hairy stuff thrown in as well". When Graham considers the point of view of a programmer using a language higher than Blub, he describes that programmer as looking down on Blub and noting its "missing" features from the point of view of the higher language.
gollark: ?tag blub Graham considers a hypothetical Blub programmer. When the programmer looks down the "power continuum", he considers the lower languages to be less powerful because they miss some feature that a Blub programmer is used to. But when he looks up, he fails to realise that he is looking up: he merely sees "weird languages" with unnecessary features and assumes they are equivalent in power, but with "other hairy stuff thrown in as well". When Graham considers the point of view of a programmer using a language higher than Blub, he describes that programmer as looking down on Blub and noting its "missing" features from the point of view of the higher language.
gollark: > As long as our hypothetical Blub programmer is looking down the power continuum, he knows he's looking down. Languages less powerful than Blub are obviously less powerful, because they're missing some feature he's used to. But when our hypothetical Blub programmer looks in the other direction, up the power continuum, he doesn't realize he's looking up. What he sees are merely weird languages. He probably considers them about equivalent in power to Blub, but with all this other hairy stuff thrown in as well. Blub is good enough for him, because he thinks in Blub.

References
  1. Discogs
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.