“Amoureuse” (Woman In Love), 1972
Album: “Amoureuse”
The French title of this song is rendered in the female gender so it translates as “Woman in Love.” The song describes a young woman in the early stages of a new but (“interdit”/forbidden by her parents) love affair. This situation entails a “pot pourri” of sentiments: passionate abandon (“la fievre qui me mord”), sadness (“j'ai du chagrin”) followed by uncertainty (“Si cet amour aura un lendemain”), other-worldlyness (“je ne suis plus d'ici”) and contradictory hopes (“que le destin m’en sorte...que le diable m’emporte.”). Sanson expresses her main concern 4 times in the chorus--whether love will last when they are apart (“quand je suis loin de lui”). The title of the song never appears in the lyrics which instead delineate love’s manifestations. For 50+ years it has served as Véronique Sanson’s signature song.
Sanson claimed that she was inspired to write the song in 1969 when she was about 20 years old, driving up the Champs-Elysées in her new Autobianchi A112 convertible car after an amorous interlude at 6 a.m.: "It was a feeling of freedom... I was constantly monitored... and I wrote this song because I knew I was going to get yelled at by my parents [upon arriving home]." The Autobianchi A112, launched in 1969, was the Italian answer to the British Mini-Cooper—a versatile, elegant super-mini city car. The song’s first verse suggests that the early-morning drive followed an intimate liaison with an unidentified party. Since she was then in a relationship with Michel Berger, we can risk a supposition. Despite the title of the song, however, Sanson claims that it was not really about a particular man but about a more diffuse sense of freedom. Such exhileration might have included a man but also captured her youth, her new car, the lovely morning and the good life in a beautiful city.
Véronique Sanson’s song “Amoureuse” (“Woman In Love”) was such a hit when it appeared in March 1972 that it generated at least two English language adaptations the following year. One adaptation was by English songwriter Gary Osborne and the other was by American singer/songwriter Patti Dahlstrom. Both English language adaptations represented serious efforts and had their own merits but also significant differences. Each version was covered by accomplished interpreters with English singer Kiki Dee in 1973 heading the Osborne releases. Besides Dahlstrom’s own release in 1973, Australian/American singer Helen Reddy covered the Dahlstrom version in 1975.
Both Osborne and Dahlstrom adaptations approximate Sanson’s original song structure with rhyming 4-line verses and a Verse/Chorus progression, and both are mostly consistent with the original song’s spirit although Dahlstrom gives it a different twist. All versions transpire in the first person, but Dahlstrom’s is the only one that directly addresses the significant other. Given the quality of Sanson’s original version, it is a pleasure to have three high quality issues of the same song. Véronique Sanson herself indicated a preference for the Dahlstrom version of the English alternatives. A side-by-side presentation of the three versions appears here. More explicit descriptions of the Osborn and Dahlstrom versions follow the Sanson video and translation below.
The structure of Sanson's song is Verse-Refrain-Verse-Refrain. The rhyme scheme of the 4 stanzas in both Verses is AABB and AABB; the 2 Refrains are ABCC and ABBA.
Both Osborne and Dahlstrom adaptations approximate Sanson’s original song structure with rhyming 4-line verses and a Verse/Chorus progression, and both are mostly consistent with the original song’s spirit although Dahlstrom gives it a different twist. All versions transpire in the first person, but Dahlstrom’s is the only one that directly addresses the significant other. Given the quality of Sanson’s original version, it is a pleasure to have three high quality issues of the same song. Véronique Sanson herself indicated a preference for the Dahlstrom version of the English alternatives. A side-by-side presentation of the three versions appears here. More explicit descriptions of the Osborn and Dahlstrom versions follow the Sanson video and translation below.
The structure of Sanson's song is Verse-Refrain-Verse-Refrain. The rhyme scheme of the 4 stanzas in both Verses is AABB and AABB; the 2 Refrains are ABCC and ABBA.
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Verse Une nuit je m'endors avec lui Mais je sais qu'on nous l'interdit Et je sens la fièvre qui me mord Sans que j'aie l'ombre d'un remords Et l'aurore m'apporte le sommeil Je ne veux pas qu'arrive le soleil Quand je prends sa tête entre mes mains Je vous jure que j'ai du chagrin Refrain Et je me demande Si cet amour aura un lendemain Quand je suis loin de lui Quand je suis loin de lui Je n'ai plus vraiment toute ma tête Et je ne suis plus d'ici Oh! je ne suis plus d'ici Je ressens la pluie d'une autre planète D'une autre planète Verse Quand il me serre tout contre lui Quand je sens que j'entre dans sa vie Je prie pour que le destin m'en sorte Je prie pour que le diable m'emporte Et l'angoisse me montre son visage Elle me force à parler son langage Mais quand je prends sa tête entre mes mains Je vous jure que j'ai du chagrin Refrain Et je me demande Si cet amour aura un lendemain Quand je suis loin de lui Quand je suis loin de lui Je n'ai plus vraiment toute ma tête Et je ne suis plus d'ici Oh! je ne suis plus d'ici Je ressens la pluie d'une autre planète D'une autre planète |
Verse One night I fall asleep with him But I know that we are forbidden And I feel the fever biting me Without having a shadow of remorse And dawn brings me sleep I don't want the sun to come When I take his head in my hands I swear to you I'm sad Refrain And I wonder If this love will have a tomorrow When I'm far from him When I'm far from him I really don’t have all my mind anymore And I'm no longer from here Oh! I'm no longer from here I feel the rain from another planet Another planet Verse When he holds me close to him When I feel I am entering his life I pray so that fate gets me out I pray so that the devil carries me away And anguish shows me its face It forces me to speak its language But when I take his head in my hands I swear to you I’m sad Refrain And I wonder If this love will have a tomorrow When I'm far from him When I'm far from him I really don't have all my mind anymore And I'm no longer from here Oh! I'm no longer from here I feel the rain from another planet From another planet |
NB:
Sans que: this “conjunctive phrase” means “without” and requires the subjunctive in the following phrase. Other “conjunctive phrases” are: “si bien que,” “tandis que,” “quoique” and “tant que.”
Sans que: this “conjunctive phrase” means “without” and requires the subjunctive in the following phrase. Other “conjunctive phrases” are: “si bien que,” “tandis que,” “quoique” and “tant que.”
Gary Osborne Adaptation
Gary Osborne
Gary Osborne and Paul Vigrass were members of an English pop duo in the early 1970s and released a couple of albums. Osborne was a singer/songwriter whose first UK hit came in writing English lyrics for “Amoureuse” in 1972 and working with Kiki Dee and Elton John to record and produce it. He retained the French title for the song. Osborn went on to collaborate in writing songs with Elton John, Alice Cooper, Olivia Newton-John and many other artists.
Osborne’s rendition of “Amoureuse” is explicit that the action occurs in the context of the narrator’s first sexual experience (“For the first time, I'm not alone”). It is transformative (“I feel my soul aflame”) but there is also a hint of uncertainty about its longevity (“I'd do anything if I could hold him for just another day”). Osborne follows the flow of Sanson’s song rather closely and even includes a facsimile of Sanson’s unusual line “I feel the rainfall of another planet” to close his chorus. Like Sanson’s original song, Osborn’s version is a straightforward Verse/Chorus/Verse/Chorus arrangement and both rhyme their verses AABB.
Osborne’s rendition of “Amoureuse” is explicit that the action occurs in the context of the narrator’s first sexual experience (“For the first time, I'm not alone”). It is transformative (“I feel my soul aflame”) but there is also a hint of uncertainty about its longevity (“I'd do anything if I could hold him for just another day”). Osborne follows the flow of Sanson’s song rather closely and even includes a facsimile of Sanson’s unusual line “I feel the rainfall of another planet” to close his chorus. Like Sanson’s original song, Osborn’s version is a straightforward Verse/Chorus/Verse/Chorus arrangement and both rhyme their verses AABB.
Kiki Dee
In 1973, English singer Kiki Dee (née Pauline Matthews) released a single of the Osborne version in October and a track on her album “Loving and Free” in November under Elton John’s Rocket Records label. It rose to #13 on the UK charts. British/Australian singer Olivia Newton-John followed that same year in November with a second Osborne version on her album “Music Makes My Day.”
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[Verse 1] Strands of light upon bedroom floor Change the night through an open door I'm awake but this is not my home For the first time, I'm not alone Reaching out, I touch another's skin Breathing out as he's breathing in Deep inside, I feel my soul aflame Can my life ever be the same? [Chorus] I should have told him That I'd do anything if I could hold him For just another day For just another day His love is something I will not forget When I am far away, when I am far away I feel the rainfall of another planet Another planet |
[Verse 2] Close together in the afterglow I remember how his loving flowed Turned the key into another world Made a woman of a simple girl Daylight comes as we both know it must Soon my fantasy will turn to dust But I would give him anything he asked If my first love could be my last [Chorus] I should have told him That I'd do anything if I could hold him For just another day For just another day His love is something I will not regret When I am far away, when I am far away I feel the rainfall of another planet Another planet |
Patti Dahlstrom Adaptation
Patti Dahlstrom
Patti Dahlstrom (b. 1947-) was a singer, songwriter and teacher born in Houston, Texas. She moved to Los Angeles in 1967 where she wrote songs and recorded during the 1970s, but ceased recording shortly afterwards. Dahlstrom never recorded a breakout hit of her own despite her considerable potential. She recorded 4 albums and had a smokey, mellow voice with a mild country sound. Later, she continued writing songs and branched into photography and writing. In 2008 she moved to London to pursue further studies. In 2010, the Rev-Ola label released a CD-compilation of 20 tracks from her 4 albums as: “Emotion: The Music of Patti Dahlstrom.” It is a deserved revival by an independent British label that specializes in re-issues.
In LA, Patti worked at Motown’s Jobete Music as a staff songwriter alongside Severin Browne (Jackson’s brother). A friend (Artie Wayne) at Warner Music Group sent a copy of Sanson’s “Amoureuse” album to her and suggested that she write English lyrics for the title song. Dahlstrom recalled: “I don’t speak French and had no idea what the lyrics meant. I carried the melody in my head for weeks and then one day the first line – 'Lonely women are the desperate kind' – just fell out as my key turned in the lock, and the lyric to 'Emotion' wrote itself very quickly.” Dahlstrom didn’t know French and the word “amoureuse” never actually appears in Sanson’s lyrics. With only the melody in hand, then, it’s not surprising that she came up with a different title and story. The word “Emotion” occurs several times ending her chorus and appears to be something that distorts clear thinking (“I see nothing right by emotion”). It certainly carries a different connotation than Sanson's word “amoureuse” to describe her early morning joyful jaunt through the center of Paris. Dahlstrom released her adaptation and recording called "Emotion" in August 1973 on her second album named “The Way I Am.” She issued the song as a single in October.
Dahlstrom’s narrator addresses directly an absent and elusive lover with whom there is an occasional passionate encounter but an evidently tenuous relationship. This is not an episode of first love, but a woman reflecting on a tired and unsatisfying relationship. The narrator describes herself as a “lonely woman of the desperate kind,” “hanging at the end of a line,” “losing hope” and “getting old” trying to make him care until he stumbles back again and fires up her emotion. There is a sense of weariness to the lyrics and the repeated word “emotion” evokes intimations of volatility and irrationality. In 2009, Véronique Sanson remarked in an interview that Dahlstrom’s was her favorite version of the song. Nevertheless, likely due to pranks by the music industry gods, Dahlstrom’s recording did not rise to any charts while Helen Reddy’s later cover in 1975 reached #22 on the Billboard Hot 100. Reddy had reached the heights of stardom in 1972 with her #1 single “I am Woman” so she carried a halo of recognition. Dahlstrom's version is featured below since she is both author and interpreter.
In LA, Patti worked at Motown’s Jobete Music as a staff songwriter alongside Severin Browne (Jackson’s brother). A friend (Artie Wayne) at Warner Music Group sent a copy of Sanson’s “Amoureuse” album to her and suggested that she write English lyrics for the title song. Dahlstrom recalled: “I don’t speak French and had no idea what the lyrics meant. I carried the melody in my head for weeks and then one day the first line – 'Lonely women are the desperate kind' – just fell out as my key turned in the lock, and the lyric to 'Emotion' wrote itself very quickly.” Dahlstrom didn’t know French and the word “amoureuse” never actually appears in Sanson’s lyrics. With only the melody in hand, then, it’s not surprising that she came up with a different title and story. The word “Emotion” occurs several times ending her chorus and appears to be something that distorts clear thinking (“I see nothing right by emotion”). It certainly carries a different connotation than Sanson's word “amoureuse” to describe her early morning joyful jaunt through the center of Paris. Dahlstrom released her adaptation and recording called "Emotion" in August 1973 on her second album named “The Way I Am.” She issued the song as a single in October.
Dahlstrom’s narrator addresses directly an absent and elusive lover with whom there is an occasional passionate encounter but an evidently tenuous relationship. This is not an episode of first love, but a woman reflecting on a tired and unsatisfying relationship. The narrator describes herself as a “lonely woman of the desperate kind,” “hanging at the end of a line,” “losing hope” and “getting old” trying to make him care until he stumbles back again and fires up her emotion. There is a sense of weariness to the lyrics and the repeated word “emotion” evokes intimations of volatility and irrationality. In 2009, Véronique Sanson remarked in an interview that Dahlstrom’s was her favorite version of the song. Nevertheless, likely due to pranks by the music industry gods, Dahlstrom’s recording did not rise to any charts while Helen Reddy’s later cover in 1975 reached #22 on the Billboard Hot 100. Reddy had reached the heights of stardom in 1972 with her #1 single “I am Woman” so she carried a halo of recognition. Dahlstrom's version is featured below since she is both author and interpreter.
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[Verse 1] Lonely women are the desperate kind And I am hanging at the end of a line Losing hope when the call doesn't come It’s a feeling I choose over feeling none I'm running out of ways of makin' you care As hard as I try you know it just isn't fair For all I give, I’m only getting old And when I think I'm finally back in control [Pre-Chorus] Ah, then you stumble in And I am tumblin’ back to where it begins [Chorus] 'Cause you can spread my wings And send a thousand dreams To flood a million streams with emotion And you can fill my nights Oh, and blow out all my lights Until I see nothing right by emotion My emotion |
[Verse 2] The room is filled with only emptiness And I am sitting here with even less Nothing doing when there's nothing to do And when I've decided we are finally through [Pre-Chorus] Then you stumble in And I go tumblin' back to where it begins [Chorus] Cause you can spread my wings And send a thousand dreams And flood a million streams with emotion And you can fill my nights Oh, and blow out all my lights Until I see nothing right by emotion My emotion |
[Outro] Cause you can spread my wings And send a thousand dreams And flood a million streams with emotion And you can fill my nights Oh, and blow out all my lights Until I see nothing right by emotion Oh you can spread my wings And send a thousand dreams And flood a million streams with emotion And you can fill my nights Oh, and blow out all my lights Until I see nothing right by emotion [Fade] |
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