A1 Holidays
A2 Comme Juliette et Romeo
A3 Qui a tue grand maman
A4 Allo Georgina
A5 Nos mots d'amour
A6 Tous les bateaux, tous les diseaux

B1 Gloria
B2 La poupee qui fait non
B3 Ame Caline
B4 Jour apres jour
B5 L'amour avec toi
B6 Ca n'arrive qu'aux autres

C1 Le bal des laze
C2 Tout, tout pour ma cherie
C3 Trumpet
C4 Love me please love me
C5 Jenny Jenny
C6 Great balls of fire

D1 Je cherche un job
D2 Pourquoi faut-Il se dire adieu
D3 Ring-a-ding
D4 J'ai du chagrin Marie
D5 L'affreux Jojo
D6 On tra tous au Paradis

(Gift pack series)

3 July 1944, Nérac, Lot-et-Garonne, France. Raised in Paris, Michel’s father, Leib Polnareff, was a professional musician (as Léo Poll), his mother a dancer. He learned piano from the age of five and attended the Paris Conservatoire. Despite his playing and composing skills, Polnareff worked in commerce until the mid-60s when he switched careers. He played guitar and sang, won a rock talent contest, and eventually began a successful recording career with 1966’s ‘La Poupée Qui Fait Non’. More record successes followed in France and other European countries and although his behaviour was sometimes erratic he built a following and attracted media attention, the latter doubtless owing in part to his glitzy stage persona. In 1968 he wrote the music for a stage production of Rabelais and in 1969 scored the film L’Indiscret.

Media speculation about his sexuality prompted Polnareff to compose and record ‘Je Suis Un Homme’ in 1970, in which year he was attacked while on stage in Périgueux. Further problems followed, of which depression was central, and after hospitalization he played more concerts and composed the score for the films Ça N’Arrive Qu’aux Autres and La Folie Des Grandeurs (both 1972). Polnareff was fined heavily for the posters for his new show, Polnarévolution (1972), which the authorities deemed to be indecent. A year later, Polnareff had money troubles when he discovered that his business adviser had not only embezzled millions of francs, but the singer was left owing millions more in back taxes. By the end of 1973, Polnareff had dealt with this problem by leaving the country.

Settled in Los Angeles, Polnareff resumed recording and had a Billboard Top 50 success with ‘If You Only Believe (Jesus For Tonite)’. His large following in Japan continued to expand and he also visited Europe, playing concerts in countries bordering France, which allowed his fans access to his concerts. He continued to write for films, including Lipstick (1976). Through the 80s, Polnareff made records, performed concerts and also wrote for films. He reached an accommodation over his tax problems and was able to return to France, living there reclusively. In 1995, following eye surgery for cataract removal, which meant that his trademark sunglasses were no longer necessary, he returned to Los Angeles where he resumed performing live and on record. ---oldies.com

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01. Fame à la Mode (Michel Polnareff/Jacob Brackman) - 4:37
02. No No No No Not Now (Michel Polnareff/Toni Stern) - 2:29
03. Wandering Man (Michel Polnareff/Jacob Brackman) - 3:33
04. So Long Beauty (Michel Polnareff/Jacob Brackman) - 5:07
05. Come On Lady Blue (Michel Polnareff/Toni Stern) - 2:29
06. Rainy Day Song (Michel Polnareff/Jacob Brackman) - 3:17
07. Jesus For Tonite (Michel Polnareff/George Clinton & Jacob Brackman) - 3:37
08. Holding On To Smoke (Michel Polnareff/Jacob Brackman) - 3:33
09. Since I Saw You (Michel Polnareff/Greg Prestopino & Michel Polnareff) - 2:49

- Michel Polnareff - vocals, electric & acoustic guitar, piano, keyboards, trumpet (01), arranger, producer
- Lee Ritenour, Andrew Gold, Steve Cropper, Gary Stovall - electric guitars
- Fred Tackett, Donnie Dacus - acoustic guitars
- David Hentschel - keyboards
- Lee Sklar, David Hungate, Reiny Press, Willie Weeks - bass
- Nigel Olsson, Jimmy Gordon, Jim Keltner, David Kemper - drums
- Russ Kunkel - congas
- Stan Richards - saxophone
- Ellen Kearney, Leah Kunkel, Jennifer Warnes, Valerie Carter, Brooks Hunnicutt, Eugene Garfin, Andrew Gold, Lewis Furey, Bobby King, Terry Evans, Cliff Givings - backing vocals

Known for his eccentric nature, French pop songwriter Michel Polnareff created a buzz for himself in the early to mid-'60s when his debut single, "La Poupée Qui Fait Non," rocketed to the top of the French charts, but it was his early-'70s release, Polnareff's, that cemented him a place as a legend in French pop. Polnareff was raised in Paris somewhat as a child of the arts, his mother, Simone Lane, being a dancer and his father, Leib Polnareff, a musician who played sideman to many, including Edith Piaf under the name Léo Poll. The two surrounded young Polnareff with music, shaping his ambitions, so it is no surprise that he had learned piano by only five years of age and was writing music by the age of 11.

After a short stint in the French Army and a few menial jobs, Polnareff embraced his passions and busked the city streets with his guitar to moderate success. In 1965, he refused a recording contract with Barclay, a prize that he won in a songwriting contest, in one of his earliest displays of his now-famous aversion to conformity, but eventually signed to AZ under the direction of his new manager and Radio 1 musical director, Lucien Morisse. "La Poupée Qui Fait Non" was released in the summer of 1966 and rocketed him up the charts not only in France, but in Germany, Britain, and Spain. The song was the first of a string of hits for Polnareff, but before long, the French press focused almost entirely on his garish stage presence. Being under the scrutiny of the conservative press didn't seem to stop the hits, however, and Polnareff garnered praise from celebrities such as Charles Trenet, but the consistency of attacks began to weigh heavily on him.

By 1970, his stage costumes had become more flamboyant. The French press began questioning his sexuality, and the constant controversy around the singer came to a head when he was physically assaulted while performing. Not surprisingly, Polnareff canceled the rest of his tour, and shortly after checked into a hospital for depression when he learned that Morisse, his manager, had committed suicide. After five months of treatment, Polnareff bounced back and resumed his hectic recording and touring schedule, but scandal soon followed when he ended up in court due to a campaign for his 1972 tour that was centered around publicity posters bearing Polnareff's naked behind. Polnareff was found guilty of gross indecency and charged 60,000 francs.

The touring continued through mid-1973 with stops in Polynesia and North America, but upon his return to France, Polnareff found his bank account had been drained by his financial advisor. Polnareff's debt to the French government was over one million francs in unpaid taxes, and with little money in his name, he fled from France to the United States. Unknown in a new country, Polnareff was safely out of the limelight and the reach of the French authorities. He spent more than a decade in the United States before he cleared up his monetary issues with the French government, while in the meantime he recorded for Atlantic and composed movie scores.

Despite his absence from France, Polnareff's new music remained present in French popular culture and continued to chart through the mid-'80s, until he removed himself entirely from the public eye and quietly returned to France to work on a new album. Kama Sutra finally appeared in the summer of 1990, and the album garnered three French hits. Polnareff remained in France for five more years before returning to the U.S. to perform at the Roxy in Los Angeles. Through the '90s and into the 2000s, he continued to release new material and play occasional shows while residing in the United States. --- Gregory McIntosh, allmusic.com

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1 	Tam-Tam (L'Homme Prehisto) 	5:48
2 	Elle Rit 	4:12
3 	Radio 	3:18
4 	Je T'Aime 	4:42
5 	Où Est La Tosca ? 	3:39
6 	Joue Moi De Toi 	4:19
7 	365 Jours Par An 	4:11
8 	Bulle De Savon 	5:59

Backing Vocals – Linda Jardim, Modesty Forbids
Banjo – Allan Parker
Bass – Mo Foster
Drums – Brett Morgan, Peter Van Hooke
Guitar – Ricky Hitchcock
Music By, Piano, Synthesizer, Keyboards, Percussion, Backing Vocals – Michel Polnareff
Percussion – Frank Ricotti, Mac Tontoh, Daku Potato
Piano, Synthesizer, Keyboards, Percussion, Backing Vocals, Directed By [Orchestra] – Richard Myhill
Saxophone – Ronnie Aspery
Synthesizer – Robin Landridge
Synthesizer, Synthesizer [Programming] – Hans Zimmer
Synthesizer, Violin – Graham Preskett 

Bulles est le 7ème album studio de Michel Polnareff sorti originellement en 1981. Cet album fit renouer Polnareff avec le succès (800 000 exemplaires vendus). Bulles est un album en totale harmonie avec le son de l'époque et prouva à l'artiste que le public français ne l'avait pas oublié. À son lancement les trois chansons "Radio", "Je t'aime", et "Tam-Tam" furent les plus diffusées par les radios nationales. Cet album marqua aussi un tournant dans l'orientation musicale du chanteur. En effet, Polnareff s'imposait désormais dans un style plus rock, et les ballades dont on avait l'habitude à ses débuts ne sont pas présentes (à l'exception de "Je t'aime"). ---fnac.com

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A1		Phantom
A2		Sumi
A3		Grandis Pas

B1		Louka's Song
B2		Ophélie Flagrant Des Lits
B3		Longtime

C1		Positions
C2		Terre Happy
C3		L'homme En Rouge

D1		Dans Ta Playlist (C'est Ta Chanson)
D2		Agua Caliente

Alto Saxophone – Allard Buwalda (tracks: C1), Dieter Limbourg (tracks: C1)
Baritone Saxophone – James Thompson (tracks: A2), Thomas Peterson (tracks: A2), Wietse Meys (tracks: C1)
Bass – Alex Al (tracks: B1), Jimmy Johnson (5) (tracks: A1, A2, B2, B3, C2), Nicolas Fiszman (tracks: D2)
Bass Trombone – Carlo Mertens (tracks: C1)
Clarinet – Allard Buwalda (tracks: B1, C1), Dieter Limbourg (tracks: C1)
Contrabass – Bart De Nolf (tracks: C1)
Drum – Bernie Dresel (tracks: C3), Bruno Castellucci (tracks: C1), Curt Bisquera (tracks: A1, A2),
 Philippe Entressangle (tracks: D2), Robert Brian (tracks: B1-C1), Toni Vitacolonna (tracks: C1)
Executive-Producer – JoAnn Tominaga, Lionel Groshény, Philippe Rault
Fretless Bass – Jimmy Johnson (5) (tracks: D1), Michel Polnareff (tracks: A1)
Guitar – Bernard Torelli (tracks: A2, B2), David Rhodes (tracks: B1, B3), Dean Parks (tracks: C3),
 George Doering (tracks: A2, C1), Nicolas Fiszman (tracks: D2), Stuart Bruce (tracks: B2), Tony MacAlpine (tracks: A1, A2)
Guitar Synthesizer – Michel Polnareff (tracks: D2)
Keyboards – Michel Polnareff (tracks: A1, B1-B3, C2-D2)
Organ [B3] – Michel Polnareff (tracks: A2, C1)
Percussion – Bernie Dresel (tracks: C1), Stuart Bruce (tracks: C2)
Piano – Michel Polnareff (tracks: A1, A3-B3, C2-D2)
Saxophone – Allard Buwalda (tracks: B1)
Synth – Randy Kerber (tracks: D1)
Synth [Contrabass Synth] – Michel Polnareff (tracks: C1)
Tenor Saxophone – Frank Deruytter (tracks: C1), Joe Sublett (tracks: A2), Steven Delannoye (tracks: C1)
Tenor Trombone – Jel Jongen (tracks: C3)
Timpani – Bernie Dresel (tracks: A1)
Trombone – Frederik Heirman (tracks: C1), Jel Jongen (tracks: B1, C1), Lode Mertens (tracks: C1)
Trumpet – Jeroen Van Malderen (tracks: C1), Jo Hermans (tracks: C1), Manu Mellaerts (tracks: B2),
 Nico Schepers (tracks: C1), Rik Mol (tracks: B1, C1), Serge Plume (tracks: C1)
Tubular Bells – Michel Polnareff (tracks: B3)
Uilleann Pipes, Flute – Ronan Le Bars (tracks: C2)
Violin [Solo] – Jerry Goodman (tracks: D2)
Vocals – Michel Polnareff (tracks: A2, A3, C2-D1)
Washboard – Bernie Dresel (tracks: C1)

Expected for many years by his many admirers, the new studio album by the most flamboyant of french singers - ENFIN! . It goes beyond the craziest expectations. This new release, the first in 28 years, contains eight songs and three instrumental pieces. From big bands to folk disco, pop and symphonic music, the titles are blossoming in a great diversity. Subtly eclectic and truly surprising. Surfer pop rock, symphonic, big band, ballads, Polnareff is at the helm, FINALLY! ---Editorial Reviews, amazon.com

3 July 1944, Nérac, Lot-et-Garonne, France. Raised in Paris, Michel’s father, Leib Polnareff, was a professional musician (as Léo Poll), his mother a dancer. He learned piano from the age of five and attended the Paris Conservatoire. Despite his playing and composing skills, Polnareff worked in commerce until the mid-60s when he switched careers. He played guitar and sang, won a rock talent contest, and eventually began a successful recording career with 1966’s ‘La Poupée Qui Fait Non’. More record successes followed in France and other European countries and although his behaviour was sometimes erratic he built a following and attracted media attention, the latter doubtless owing in part to his glitzy stage persona. In 1968 he wrote the music for a stage production of Rabelais and in 1969 scored the film L’Indiscret.

Media speculation about his sexuality prompted Polnareff to compose and record ‘Je Suis Un Homme’ in 1970, in which year he was attacked while on stage in Périgueux. Further problems followed, of which depression was central, and after hospitalization he played more concerts and composed the score for the films Ça N’Arrive Qu’aux Autres and La Folie Des Grandeurs (both 1972). Polnareff was fined heavily for the posters for his new show, Polnarévolution (1972), which the authorities deemed to be indecent. A year later, Polnareff had money troubles when he discovered that his business adviser had not only embezzled millions of francs, but the singer was left owing millions more in back taxes. By the end of 1973, Polnareff had dealt with this problem by leaving the country.

Settled in Los Angeles, Polnareff resumed recording and had a Billboard Top 50 success with ‘If You Only Believe (Jesus For Tonite)’. His large following in Japan continued to expand and he also visited Europe, playing concerts in countries bordering France, which allowed his fans access to his concerts. He continued to write for films, including Lipstick (1976). Through the 80s, Polnareff made records, performed concerts and also wrote for films. He reached an accommodation over his tax problems and was able to return to France, living there reclusively. In 1995, following eye surgery for cataract removal, which meant that his trademark sunglasses were no longer necessary, he returned to Los Angeles where he resumed performing live and on record. ---Colin Larkin, oldies.com

En 2018, Michel Polnareff a sorti un nouvel album "Enfin !", après près de 30 ans d’absence. L’occasion de revenir sur la carrière hors du commun de celui qui est surnommé "l’Amiral" par ses fans.

Le succès dès son premier album

Michel Polnareff est âgé de seulement 22 ans quand il sort son premier album en 1966 "Love Me, Please Love Me". Influencé par Bob Dylan ou les Kinks, le disque est un succès avec plus de 100 000 exemplaires vendus. Deux ans plus tard, en 1968, "Le Bal des lazes" marque sa première collaboration avec le parolier Pierre Delanoé. Puis en 1971, sort un nouvel opus, "Polnareff’s", écrit avec Jean-Loup Dabadie. Trois ans plus tard, l’enregistrement de son album éponyme est perturbé par les démêlés de Michel Polnareff avec le Fisc.

L’exil américain

Suite à ces problèmes, l’artiste part s’installer aux Etats-Unis. En 1975, son nouvel album "Fame à la mode" est enregistré en anglais et ne connaît qu’un succès mitigé. En 1978, il revient à la langue de Molière avec "Coucou me revoilou". En 1981, il connaît un énorme succès avec "Bulles" qui s’écoule à plus de 800 000 exemplaires. Suivront les albums "Incognito" en 1985 et "Kâma-Sutrâ" en 1990, certifié double disque d’or.

Le retour de Michel Polnareff sur le devant de la scène

28 ans après ce dernier opus, Michel Polnareff sort un nouvel album en 2018. Fruit de 10 ans de travail, "Enfin !" était attendu avec impatience par les nombreux fans du chanteur. Comportant le titre "Terre happy", l’album est de nouveau un succès avec plus de 50 000 exemplaires vendus depuis sa sortie le 30 novembre 2018. ---nostalgie.fr

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01. Voyages (M. Polnareff) - 2:52		play
02. Né dans un ice-cream (J.L. Dabadie, M. Polnareff) - 3:21
03. Petite, petite (J.L. Dabadie, M. Polnareff) - 3:20
04. Computer's dream (M. Polnareff) - 4:17
05. Le désert n'est plus en Afrique (M. Polnareff) - 3:05)
06. Nos mots d'amour (J.L. Dabadie, M. Polnareff) - 3:13
07. ... Mais encore (M. Polnareff) - 2:15
08. Qui a tué grand' maman? (M. Polnareff) - 2:37	play
09. Monsieur l'abbé (M. Polnareff) - 3:30
10. Hey you woman (P. Delanoe, M. Polnareff) - 5:20
11. A minuit, à midi (J.L. Dabadie, M. Polnareff) - 3:37

Conductor – Anthony King, Bill Shepherd, Michel Polnareff
Vocals, Guitar - Michel Polnareff

The reissue of Michel Polnareff's self-titled psychedelic pop masterpiece from 1971 is both a welcome addition to the CD canon, and probably more than a little off-putting to many members of the Elephant 6 collective, as well as to Stereolab and others who have cribbed its originality and vision, and tried to claim it as their own. Others (DJs like the ever-cranky Gilles Peterson) can be imagined grumbling about how another obscure pillar of their record collections is now available to us plebians who weren't there -- of course, none of them were, either. Polnareff's is composed and recorded as all of a piece. The lushly layered textures bring in everyone from Serge Gainsbourg and Burt Bacharach, to funky discotheque, along with intimations of the pop of Sandie Shaw and Françoise Hardy, The Turtles, Tommy Boyce and Bobby Hart, and, of course, Scott Walker. Tracks such as "Petite, Petite," "Nos Mots D'Amour," and "Monsieur L'Abbe" reveal that Polnareff would err on packing his tracks with everything he could fit into his grandly baroque, kitschy schema, rather than have left anything to chance. It's overblown and excessive to be sure -- in a manner, it's like an early model for the excesses of Fleetwood Mac's Tusk -- but it is also so bloody well-executed and produced, it cannot be anything but brilliant. This is pretentious French psychedelic soul at its most garish and essential. ---Thom Jurek, allmusic.com

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