Resurrecting Les Négresses Vertes
November 9, 2017 § 2 Comments
One of the wonderful things about growing up in Canada was official bilingualism. This meant, for example, that growing up in Vancouver, I could see my beloved Habs every Saturday night on La Soirée du Hockey on Radio-Canada. It also meant that the French-language version of MuchMusic, MusiquePlus, was broadcast across cable in Vancouver, direct from Montréal.
For the adventuresome young music fan, there was this whole other world out there from France, Belgium, Québec, and French Africa. Musiqueplus is how I first heard a whole raft of great French artists, from Youssou N’Dour to Noir Désire to Jean Leloup to Niagara to Serge Gainsbourg, and beyond. It is also how I first heard Céline Dion, so there’s that to take into account. But it is also how I first came across the great Parisienne band, Les Négresses Vertes.
In high school, French music wasn’t exactly something I could share with my friends. Sure, I was part of the alternative music crowd, but that only extended to the Anglophone world. I hunt out with some of the theatre kids, but this was a bridge too far even for them. It wasn’t until I moved to Ottawa, with its proximity to Montréal, that I found the freedom to enjoy French music publicly.
Most of the Anglo world first came across Les Négresses Vertes through their presence on the Red Hot + Blue album in 1990. They covered Cole Porter’s ‘I Love Paris.’ But, by then, I had already dug on their début album, Mlah, which came out in 1988. They were unlike anything I had ever heard in English. They mixed French traditional music with world beat and punk. They were complicated. Their melodies and beats owed more to the French Empire than France. And they had a strong sense of musicality, which bubbled up to the surface in surprising ways sometimes. Front man Noël Rota, better known as Helno, sounded a bit like Joe Strummer of the Clash, at least sometimes (this also made Strummer’s late life foray into acoustic punks and Latin beats somewhat bizarre to me, since it sounded more like Helno fronting Mano Negra).
The Vertes were a collection of misfits and punks from Paris, originating around Les Halles. They were a united nation of the former French empire; their name came from an insult hurled at them at one of their earliest. I don’t get romantic about the past and locations often, but, c’mon, this is Paris. Paris in the 80s must’ve been an amazing place. And Les Négresses Vertes arose out of this, the cosmopolitan nature of the French metropole, plus the distinct French qualities of the city, and the inner city at that. And the music! Aside from Les Négresses Vertes there was Noir Désir, Bérurier Noir, Mano Negra, amongst others.
Their first two albums, Mlah and Famille Nombreuse, teetered on complete chaos, an eight-piece orchestra. Helno was this tiny, kind of funny looking freak. He had a pompadour and looked like something that stepped out of the 1950s. But, in front of his band, he became something else. He held this chaos together. He was both the primary song writer and the vocalist. He sounded a bit like Strummer, yes, but he also sounded world-weary. All of this when he was in his late 20s. He’d done copious amounts of drugs, but he still more or less lived in his mother’s flat in a poor part of northern Paris. People all around him were dying, of suicide, drug overdoses, and AIDs. He once told a journalist that he through that if there was a Hell, it was on Earth. He also claimed that he wrote his lyrics whilst riding his bike around Paris, singing out loud as he rode. Hindsight says he was damned from the getgo. But I doubt it looked that way at the time.
His lyrics were riddled with slang and dark humour, stories of love and the gritty city (”Zobi La Mouche‘ and ‘Voila l’été‘) mixed with the occasional beautiful love song (‘Homme de marais‘, seriously one of my favourite songs ever) and dirge (‘Face à la mer‘). ‘Face à la mer’ was remixed by Massive Attack and became a huge club hit after Helno’s death (perhaps the most unlikely club raver ever).
It’s been a long time since I listened to the Vertes, probably close to a decade. But for some reason, I put them on last weekend. Nothing has changed, even though their first album was released almost 30 years ago. Helno himself has been dead for almost 25 years; he died of a heroin overdose in January 1993, at the age of 29. Their music is still immediate, still that beautiful concoction of chaos, danger, and beauty.
Les Négresses Vertes carried on after Helno’s death, eventually evolving more into a dub fusion band. But something was lost. Helno seemed to be the one who kept the chaos from falling off the rails, from ensuring the danger remained in the background. After his death, the band was never as exuberant and full of life again. They mellowed. And as much as I like the post-Helno era, for me, Les Négresses Vertes were at their best between 1987 and 1993.
As far as I know, they’ve never broken up, but they haven’t released any new music since 2001. They don’t have a web page. They don’t have a Twitter or a Facebook page. And career-spanning retrospectives were released in the early 2000s.