Dalida - The Remasters (All Tracks Remastered) '2021

Tracks list

Tracklist:

01. Les gitans (Remastered)
02. Rendez-vous au lavandou (Remastered)
03. Romantica (Remastered 2019)
04. Miguel (Remastered)
05. Dans les rue de bahia (Remastered 2019)
06. Ni chaud, ni froid (Remastered 2019)
07. Aïe ! Mourir pour toi (Remastered)
08. o sole mio (Remastered)
09. Le petit chemin de pierre (Remastered)
10. Tintarella di luna (Remastered 2019)
11. Tu nas pas très bon caractère (Remastered)
12. Tu peux tout faire de moi (Remastered)
13. Elle, lui et lautre (Remastered 2019)
14. Aïe mon coeur (Remastered)
15. Itsi bitsi petit bikini (Remastered)
16. Adieu monsieur mon amour (Remastered)
17. Je me sens vivre (Remastered)
18. Pepe (Remastered)
19. Marchande de fruits (Remastered)
20. Garde-moi la dernière danse (Remastered)
21. Loin de moi (Remastered)
22. Protégez-moi seigneur (poderoso senor) [theme from Le goût de la
violence] (Remastered)
23. Avec une poignée de terre (a hundred pounds of clay) (Remastered)
24. Tu ne sais pas (Remastered)
25. Cordoba (Remastered)


 Read MoreShe left Egypt in 1955 to pursue a screen career in Paris. Dalida
was cast in the film Le Masque de Toutankhamen, directed by Marco de Gastyne,
but much more important to her career was a short singing stint that she took on
in Paris. She accepted an offer to sing in the intermission between acts at a
club, La Villa dEste, where she was spotted by Bruno Coquatrix, a producer at
the Olympia Theater, the largest performing venue in the city, where figures
such as Charles Aznavour and Edith Piaf had seen some of their greatest
triumphs, and also by radio producer Lucien Morisse. The two took her under
their wing, Coquatrix introducing her to the French public, while Morisse later
married her. Record producer Eddie Barclay, a former jazz pianist, signed Dalida
to a contract with his own Barclay label, and her second single, Bambino --
which was also later a hit for the Springfields -- became a huge hit in 1956.
The following year, she was awarded a gold record for a million sales of the
single in Europe. Her later hits included Gondolier (1957), Come Prima Tu Me
Donnes (1958), Les Gitans (1958), Ciao Ciao Bambina (1959), Les Enfants du Piree
(1960), and La Danse de Zorba (1965), the latter a vocal version of the dance
from the movie Zorba the Greek. From 1960 onward, her brother, billed simply as
Orlando, oversaw her recordings as producer, and could take some credit for
securing her continued success in the 1960s and beyond.

With the advent of the rock & roll era in the early 60s, Dalida adapted
successfully to the new music, her recordings making use of a band with more of
a beat, as she took on new material, including French versions of songs by the
Drifters (Garde-moi La Derniere Danse etc.), the Kingston Trio (Que Sont
Devenues Les Fleurs etc.), and others. By 1964, shed sold an extraordinary 30
million records worldwide, though all of those sales were in the non-English
speaking world, from the Middle East to Germany. Like her contemporary Petula
Clark, whose career also made the jump from the 1950s to the 1960s, Dalida went
through several transitions in image -- from dark hair and makeup and elegant
gowns in the mid-50s, looking like an Italian Alma Cogan, into a striking blonde
in revealing outfits and shorter skirts in the 1960s and beyond, so much so that
it was difficult to believe that she was the same performer. She maintained a
screen career as well, appearing in over a dozen movies in France and Italy from
1955 through the end of the 1960s, ranging from spy thrillers like Rapt Aux
Deuxieme Bureau (1958) to frothy sex comedies such as Menage Italian Style
(1965).

Beginning in 1956, Dalida was an object of fixation for the paparazzi, who could
hardly shoot an unattractive picture of the leggy, well-endowed singer/actress.
Between her twin singing and movie careers, she was linked professionally,
personally, and romantically in the press to a succession of men (including
actor Alain Delon and Eddie Barclay) before she married Lucien Morisse, but that
marriage didnt last far into the 1960s. A heavy performing schedule, coupled
with an unsettled romantic life, took their toll. The singers life took a sudden
dark turn, closer to that of Edith Piaf than to Petula Clark, when her
then-current lover Luigi Tenco, a singer, killed himself at the 1967 San Remo
Festival after failing to qualify for a spot on the program. Dalida, who found
the body, made the first of several suicide attempts soon after. Following her
recovery, she restarted her career in a slightly different direction, recording
more serious and thoughtful songs -- among the more notable of these was Salwa
wa Sala, which translates as Safe and Sound, which was issued to celebrate the
release of Egyptian POWs from the 1973 Yom Kippur War by the state of Israel.

Although no less a figure than Norman Granz, of Verve Records fame, was
interested in bringing Dalida to the United States in 1958, it took her 21 years
to make her American debut. On the eve of that debut, at Carnegie Hall in New
York, writer Anthony Haden-Guest described her fandom, especially in France, as
cult-like in its dedication, but non-existent in the United States, where she
never charted a record. Since the 1970s, when shed adapted to the disco boom
(and released the pioneering French disco hit Jattendrai), shed also acquired a
significant gay audience in France, which was drawn to her outsized press image
and also the angst surrounding her personal life.

Her ex-husband Lucien Morisse took his own life sometime after her attempt at
suicide in the wake of Tencos death, and Haden-Guest compared her to Judy
Garland, though musically she was closer to Astrud Gilberto. Dalidas later
involvement marriage to a man identified as the Count of St. Germain, who turned
out not to be a count and also to prefer male companionship, only added to the
picture of a personal life in turmoil and seemed to make her that much more
alluring to her admirers. In the midst of this, she won the Oscar Mondial du
Disque (World Oscar of Recording), a French award, to be sure, for her Gigi
LAmoroso, beating out competitors that included Frank Sinatras Strangers in the
Night, and recorded a peace song, Salma ya Salama, in Arabic, on the occasion of
Egyptian president Sadats peace summit with Israel. Dalidas career in the 1980s
had slowed somewhat as she entered her fifties, looking at least a decade
younger but no longer doing 200 engagements a year as she had in her prime.

In 1986, she returned to her native Egypt to make a film, The Sixth Day, with
director Youssef Chahine, an old friend from her early career, in which she gave
what the critics felt was a superb acting performance. She continued to make
Paris her home, where she remained a huge concert draw during her final decade.
On May 3, 1987, Dalida was found dead of an overdose of barbiturates, an
apparent suicide at the age of 54. A significant cult still surrounded her in
Europe more than a decade after her death -- many millions more records have
sold, there are several active websites and pages, and MCA-Universal, as the
owners of Polygram Records (which controlled distribution on the Barclay label),
has issued a three-CD box, La Legende, in France covering her life and career. ~
Bruce Eder

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