Morrissey the miniseries – misery in bitesize chunks part five


Following on from parts one to four.  As before, SPOILER ALERT!!!

5: A Reaper with the Power of Our Lord  Morrissey recounts the entire plot of The Strange One; he then recounts the entire plot of I’m A Stranger.  At the third Sex Pistols gig in Manchester, Morrissey meets Linder Sterling who is dating Howard Devoto of The Buzzcocks.  Morrissey is still mistaken about the Sex Pistols and is convinced the singer is Fagin.  Morrissey is there to meet Johnny Thunders and Jerry Nolan; he takes photographs but can’t get any conversation out of them.  The Clash’s soundcheck is so bad that Morrissey decides never to go to a soundcheck again – unless it is his own.  Linder asks Morrissey if he is “still ill” – a song is born.  Morrissey responds to Billy Duffy’s card in Virgin Records looking for a singer.  Morrissey sings.  They have five songs ready for their first gig as The Nosebleeds, which goes well.  Morrissey has a taste for it now but unfortunately Billy leaves to join Theatre of Hate.  Billy tells Morrissey that Johnny Marr is a better guitarist than him anyway and suggests they hook up.  When Morrissey sees Simon Topping on the cover of the NME with A Certain Ratio he wants to die.  He starts having daily panic attacks.  Morrissey goes on and on about Margaret Thatcher.  He feels like the black sheep of his family and he asks a Polish girl called Anna if they can move in together but she refuses.  Johnny Marr’s favourite group of all-time is Pentangle and he doesn’t know how to pronounce the word guitar; despite this they get on well.  They call their band The Smiths.  Johnny brings in Mike Joyce and Andy Rourke and makes sure they stay.  EMI pay for three recordings and then reject them.  They go to see Rough Trade and do them a favour by bringing a level of success and glamour to the label.  Morrissey can’t think of anything good to say about Geoff Travis and Rough Trade and likewise Geoff Travis later declares he can’t think of anything good to say about The Smiths.  Rough Trade gives The Smiths £6,000; Morrissey pays his ’phone bill and the rest goes in The Smiths’ bank account.  The Smiths sign some vague deal with Sire.  Morrissey and Marr are not treated to lavish meals by their record label, instead they consume food and drink starting with the letter C; Coca-Cola, chocolate, crisps and chips.  Hand in Glove sells and The Smiths record radio sessions.  The Smiths record their first LP in Wapping, of all places.  Troy Tate is rubbish at producing so John Porter of Roxy Music is brought in but he doesn’t seem to be much better.  The album enters the charts at number 2 instead of number 1 because Rough Trade couldn’t get the cassettes manufactured in time – Morrissey feels Rough Trade are letting The Smiths down.  Morrissey is interviewed on breakfast TV and thinks Henry Kelly is just awful.  There’s more trouble at Rough Trade…

Parts 6-14 to follow

Morrissey the miniseries – misery in bitesize chunks parts one to four

I’ve been a fan of The Smiths and Morrissey since the 1980s when I was a teenager, so don’t take this post the wrong way; I really do like Morrissey.  But the thing is, I am struggling a little bit with his recent Autobiography (published by Penguin Classics).  I got an A+ in my Critical Theory examination at University so I know I’m capable of “understanding” literature but Morrissey’s Autobiography is, quite frankly, beyond me – there seems to be a lot of  wind and piss and not a lot that’s meaningful.  Well, that’s my opinion anyway…

It’s taken me well over a week to manage to read 130 pages and I know other people have struggled with it too, so I thought that I should do the world a service and read it on behalf of those who just can’t manage it but want to get the nub and the gist of the whole brouhaha.

Having read less than a quarter of the book to date, I somehow doubt I will get to the end without Morrissey’s people or the publishers asking me to remove this, so enjoy it while you can, folks.  The plan is to present it to you in 14 bitesize chunks, here are the first 4 for now and expect more soon.



Manchester Queen’s Square, the Morrissey miniseries

1: The Punishment Begins  Manchester, 1959.  Morrissey is born and his head is so big that his mother nearly dies during childbirth.  Morrissey finds it hard to swallow so he is hospitalised for months.  Somehow he survives only for his older sister Jackie to try and kill him four times; she is unsuccessful.  St Wilfrid’s school is grim and the teachers like to give beatings.  One day during class fat Bernadette tries to strangle herself with a leather belt as teacher Miss Dudley reads the newspaper unperturbed. At home Morrissey has a jar of cold cream rammed up his nose; he falls in the fire and burns his wrist; he gets a large spoon of rice pudding stuck in his throat.  Somehow he survives all of this.  One day Morrissey sees Ena Sharples of Coronation Street fame having her photograph taken at some local flats; Morrissey watches television a lot.  Morrissey is pushed in the deep end at the public baths.  Morrissey faints when he sees George Best playing football at Old Trafford.  Morrissey is mad about music and starts buying records.  Auntie Jeane loves Johnny, but Johnny loves to use his fists on her face; she still loves him anyway.  In 1965 Grandad Esty dies at the age of 52.  Uncle Ernie dies a few weeks later at the age of 24, collapsing in the street on his way home from work.  Ernie had predicted his own death.  The family die young – Uncle Anthony had died aged only 9 months.  Queen’s Square is demolished.

2: How is One to Live if One Doesn’t Want to Die? After Esty’s and Ernie’s deaths Nannie Dwyer moves to Trafalgar Square.  Morrissey’s dad takes the family on a drive to Liverpool and they collide with an amber gambler dicing with death; Auntie Mary has her face shattered with glass.  Weeks later they have a second crash when a tyre blows out.  They all survive, unlike cousin Eileen Sullivan who turns up at Nannie’s one day and is later discovered dead in the back bedroom.  Trafalgar Square is boarded up so Nannie moves to Gorse Hill.  Cousin Jody Keating is an unhappy soul as her only son Billy accidentally set fire to himself in the backyard when he was 11.  Morrissey worships at the Paul Marsh record shop.  Morrissey dances in the living room until his dad tells him he looks embarrassing.  Morrissey’s parents argue constantly, so he repeatedly tries to run away but is always sent straight back home.  When he’s not trying to run away he spends most of his time bedridden, keeping death at bay and watching television – he likes Jason King of Department S.  When he gets out of the sick bed Morrissey joins a gang led by a 16 year old girl Lillian.  Nannie thinks the world is ending during the 1971 partial eclipse, but, no, life goes on.  Morrissey can’t eat smelly foods as they make him vomit, so he exists largely on a diet of tea and toast until he discovers pasta and pizzas when he reaches his thirties, but that’s a long way off yet so for now it’s just tea and toast.  Morrissey plays Ulrick in the play On Dartmoor but his dad tells him he is very embarrassing.  Morrissey comes 4th in a race at Stretford Stadium and his dad tells him he didn’t win and looks away.  More failure:  Morrissey fails his 11-Plus exam and has to attend St Mary’s Secondary School.  Headmaster Vincent Morgan beats small boys every day; Morrissey suspects there are sexual motives behind this behaviour.  One of the physical education teachers, Mr Sweeney, massages Morrissey’s wrist with anti-inflammatory cream; Morrissey suspects there are sexual motives behind this behaviour.  Morrissey discovers Warhol and Bowie.  Wearing a purple satin jacket Morrissey heads off to his first concert in 1972 – T-Rex. 

3: A Hammer Blow to the Head Can Injure the Soul  September 1972: Morrissey sees David Bowie in concert and touches his hand as he passes him a fan note.  Months later he sees Roxy Music and sneaks into their soundcheck, getting the opportunity to chat with the band’s saxophonist.  That year Morrissey also sees Mott the Hoople and Lou Reed.  Morrissey buys the New York Dolls’ single from Rumbelows.  The New York Dolls are referred to as ‘the world’s first homosexual rock band’; Morrissey suspects there are no homosexual motives behind their more-or-less transgender behaviour.  Morrissey is chastised for painting the New York Dolls in art class.  Morrissey is popular with the girls but he’s not much bothered by their attentions, instead he prefers to ride stolen racing bikes by night.  Morrissey buys the Jobriath album from Rare Records and he also enjoys social problem films.  Aged 14 now, Morrissey has a canary-yellow streak dyed in his hair.  Morrissey plays truant to go and see Roxy Music in Preston but he pays for it back at school.  Morrissey wins medals representing the school in track races.  Morrissey gets into poetry and goes on and on about it endlessly.

4: A Handful of People in the Depths of Silence Morrissey is still going on about poetry, only now he suspects that Justice Wills wanted to destroy Oscar Wilde in order to save the world from homosexuality.  Morrissey goes on and on about judges until he is distracted by Jon Daley walking along Great Stone Road wearing knee-high silver boots and they start hanging out together.  Morrissey and Jon are mistaken for extras on the set of Coronation Street.  Morrissey is given a cycle-on part in an Edwardian drama The Stars Look Down.  Morrissey is also hanging out with Hazel Bowden and Kath Moores, who go to see the New York Dolls and Roxy Music and hang out with the bands after the shows.  Hazel later tells Morrissey that Jon Daley has died in a horrific motorway crash.  Morrissey starts hanging out with Anji Hardy and her friends – they all like the Glitter Band and the New York Dolls.  Anji Hardy’s mum takes 15 year old Morrissey to a private jazz club and gives him a cigarette but Morrissey doesn’t smoke.  Anji ’phones up one evening and casually announces that the doctor has given her six weeks to live; several weeks later Anji dies of leukaemia.  One sorry-assed Saturday in 1975 Morrissey buys Patti Smith’s Horses in Boots the Chemist in Macclesfield.  In 1976 Morrissey sees the Ramones’ first Manchester gig.  Joey Ramone looks so ill Morrissey thinks he has met his twin.  Tea and toast for two, is it?  In the same year he sees David Bowie at Wembley but feels disappointment.  He also goes to see Auntie Mary in New York and feels disappointment – he spends seven miserable weeks there getting by and apologising, although they somehow manage to survive a hurricane.  Morrissey meets Russell Mael of Sparks outside CBGBs and gets an autograph.  In 1977 Morrissey goes to Birmingham to see Patti Smith.  Morrissey goes on about Iggy Pop, Lou Reed and Patti Smith being a trinity or something…  Morrissey meets Marc Bolan and asks for his autograph but he refuses.  O well, Morrissey goes to see the Sex Pistols at the Lesser Free Trade Hall.  He somehow seems to have confused Johnny Rotten with a character from Dickens.  Morrissey sees men about town Paul Morley and Ian Curtis; they are trying to make something of themselves and Morrissey wants to get in on it and make something of himself too.  He’s no longer content to just be in the audience; he believes something must happen.  Morrissey lives in a haunted house with his mother and sister and he has penpals. Morrissey wants to sing but instead he has to work – he works briefly at a record store, then briefly at the Inland Revenue until he is fired for wearing a Ramones t-shirt.  He is offered a job cleaning the canal banks but he is turned down for a job as a postman because he is deemed physically and psychologically incapable of delivering letters.  Morrissey is interviewed in London by Sounds magazine for a writer’s job but he is unsuccessful.  Morrissey works briefly at a Bupa hospital and submits a script for Coronation Street, which is turned down.  Then he is fired from his post as a stylist at Damien & Jason because he can’t tell the difference between oily hair and a wig.  Morrissey hangs out with James Maker and he goes on and on about him.  Then he hangs out with Simon Topping and he doesn’t get a chance to go on and on about him as their friendship is cut short; they listen to Nico’s Chelsea Girl together until Mrs Topping declares Morrissey “a bad influence” on her son.  Morrissey wants to die.  But instead Morrissey meets Nico twice in Manchester and she dies aged 49 after falling off her bicycle.

That’s all for now, folks!  But expect more from the Morrissey miniseries soon – Hero Culte: reading Morrissey’s Autobiography so you don’t have to.

Jane Birkin in concert at The Barbican London 9 November 2013

As a big fan of Jane Birkin I usually try to see her whenever she is in the UK.  Over the years I have missed very little but I find that now as I get older and now I no longer live in London it is hard to keep up to date with what’s happening and sometimes it’s even impossible to get to Jane Birkin events.  I managed this one thanks to a friend posting about it on Facebook (you see, it has its uses…) with plenty of notice – but normally I would be on the first or second row or something and this time I was back on row G for goodness sake!

Jane Birkin Barbican 13001

I have seen Jane do the Arabesque set a couple of times before – the musicians she works with are excellent and then she has her beautiful red satin dress and indulges in a bit of “Jane dancing” (if I call it “Jane dancing” enough it will become a thing and anyone who is overly familiar with Jane Birkin’s work will know exactly what I am talking about…) too so it’s always worth a look if you have not managed to catch this arrangement live before.

Here’s the “programme” they gave out at The Barbican:

Jane Birkin Barbican 13002 Jane Birkin Barbican 13003

There was no memorabilia on sale at the concert, although I took my own homemade “Birkin bag” with me, look:

Birkin bagThe Birkin bag you can afford!

Anyway, back to the concert which was at the amazing Barbican:


The set was pretty standard for Arabesque but I made notes to document it anyway:

The set started out solely with piano accompaniment as Jane sang Physique et sans issue and this was followed up with Une chose entre autres and Ces petits riens.  Jane then went solo, sitting at the front of the stage to recite the lyrics to La chanson de Prévert.  After this she was joined by the entire band Djam & Fam (band members names are listed on the programme above) and they started out with Elisa, followed by Et quand bien même and Couleur café. 


Then, as is customary, Jane read her nephew Anno’s poem for his mother, Close to the River, followed by another recital – this time one for Serge Gainsbourg, Dépression au-dessus du jardin, which remains one of my favourite Gainsbourg songs ever.  I don’t know if Jane was trying to make me cry at this point because she followed it with Valse de Melody, another favourite.  Thank goodness she paused to explain how long she has been working with Djam & Fam and how many concerts they have done together over the years (about 365 concerts, not including this tour – wow!) as this gave me time to compose myself before she came back with a change of tempo.  


Haine pour aime was followed by yet another sad number Amours des feintes so the mood didn’t stay upbeat for too long though.  The band were then introduced and their instrumental She Left Home allowed Jane time to exit the stage to change into her fabulous red dress and barefeet ensemble.  


Les dessous chics doesn’t really lend itself to dancing but Les clés du paradis does and although it’s an Arabesque standard it’s the first song she performs that is not a Gainsbourg number; it’s Alain Chamfort though so that’s acceptable, I guess.  So, this is where Jane lets her hair down and does her “Jane dancing”, which is hard to describe but it involves her long limbs being thrown about like crazy, it’s not a good look but I love her for it and she’s such a good sport and takes the audience encouragement and runs with it – almost literally in this instance as at one point it looked like Jane was pretending to be a horse in a jump race.  I’m pretty sure Jane usually does more “Jane dancing” than this but she has been quite ill lately so maybe she’s trying not to overdo it – she still looks fabulous though and I am sure she is on the mend, so that’s okay.  Anyway, “Jane dancing” out of the way we get back to serious business with Fuir le bonheur de peur qu’il ne se sauve, Comment te dire adieu and Baby Alone in Babylone.  The night ends with Jane’s a cappella version of La Javanaise, which the audience participate in for the sections where they can remember the words! 

It was an excellent concert from Jane, who was in fine voice, and I enjoyed it very much (despite my migraine), even if it did feel short.  I shall be posting something very soon about the wonderful Jane & Serge: A Family Album book recently published by Taschen, so keep an eye out for that.

Thanks to Dave Tinkham of Datapanik Design for the photographs, taken surreptitiously at The Barbican – taken from a distance and quick shots to stop the ushers from giving us a ticking off (they are very strict…), so excuse the quality although I like them a lot.

Lost and Found: Gideon Bachmann interview with Alain Resnais

I’m pretty nosy, right.  Some of you may have read my previous post about the handwritten notes for a music industry gossip book that I found in a junk shop and felt obliged to purchase out of nosiness (if not you can see it here) but this latest find will appeal to a different audience.  This is Gideon Bachmann’s typewritten interview with the film director Alain Resnais and I am not 100% sure where it comes from.  There is a handwritten address on the back of the document:


I can’t decipher this entirely but it seems to say Esoteric, 22 C…… Chambers, Buc[kingham] Palace Road, SW1 and SCO 6704.  I haven’t been able to track down a film magazine registered in that area in the early 1960s so I don’t know if or when this article was ever published.  If anyone can help with that, please let me know.  Also, don’t hesitate to get in touch if the publication of this document infringes copyright &c.

Anyway, here is the interview complete with strikes-through:

Resnais001 Resnais002 Resnais003 Resnais004 Resnais005

What I find interesting about this is that Gideon Bachmann mentions, in the footnote, that Alain Resnais was then working on a fantasy thriller called The Adventures of Harry Dickson.  This, of course, was a film that was never made.  The character Harry Dickson was based on a pulp magazine detective similar to Sherlock Holmes, so it would have been amazing had the project ever been fulfilled; I can’t imagine what the results would have been.  According to an article on Cine City  Basil Rathbone, Laurence Olivier, Peter O’Toole, Kirk Douglas, Tony Curtis, David Niven, Rock Hudson and Dirk Bogarde were all considered for the role of Harry Dickson.  The other thing that interests me is Gideon Bachmann – looking him up I see he was a friend of Fellini (he not only directed the film Ciao, Federico! about him but also appeared in in a bit part) and he has interviewed everyone from Tarkovsky to Pasolini to Herzog.  He looks like an interesting chap and I am going to look up some of his other interviews now – nosiness has its benefits after all!

I hope this is of interest to Hero Culte readers, but do get in touch if you can shed any light on the origins of this interview.

Who are you, Leonie Lousseau?

I have recently discovered the French singer Léonie but she’s a bit of an enigma so I thought I would try and pull together all of the information I could find out to see if I could discover anything about this wonderful singer. 

I couldn’t find any articles about Léonie in my collection of French music magazines, so I asked my friend and fellow French music fan Matthew Meek if he had anything as a starting place.  Luckily for me Matthew said he had a small article from Salut Les Copains magazine and he sent me this lovely little thing:


Her name is Léonie.  Or Léonie Lousseau (according to her EP) or Léonie Angers (according to SLC) or even Martine (according to an anonymous comment on  So that’s clear then?!

Born 8 May 1950 in Saint-Malo.

Back in the early 1970s when she was in SLC she weighed 45kg (7 stone 1 lb) and she was 1.63M in height (approx 5 foot 4”).

The SLC magazine gives her address as 9 square Moncey, 75009 Paris, France – not quite sure why they’d give her address out but there you go!  Anyway, this was about 40 years ago now so I’m pretty sure she’s not there anymore, although you never know…  [Postscript: I have since discovered this is the address for Disques Somethin’ Else, which is a subsidiary of Disques Motors, so there you go!]

She has blue eyes according to SLC and laughs a lot.

She also worked as an artist or designer (dessinatrice) at SLC and MAT according to the SLC article.

She went to high school in Vitry, where her parents lived, and then studied at Sèvres where they had art and music departments.

She posed for some fashion photos.

She acted in some of Charles Matton’s short films – I can’t find these films, or any mention of Léonie in any cast lists, but I am assuming that they could be the ones mentioned here: La Pomme ou l’histoire d’une histoire (1966) and Activités vinicoles dans le Vouvray (1967) and Mai 68 ou les violences policières (1968).  Zouzou was in La Pomme… along with other friends and Matton family members, so it would be great if Léonie was in the film too – I would love to see it in any case but haven’t yet found any footage, just some drawings from the film (which mixes moving image, photography and drawings).  Léonie would have met Charles Matton (aka Gabriel Pasqualini) when he was working on illustrations for MAT.  He’s a really interesting chap with or without the Léonie link – he was a great artist and sculptor and he made amazing miniature reproductions of interiors of studios with the most intricate detail.  He also directed Spermula and did the cover for Sylvie Vartan’s Par Amour, Par Pitié. Check him out and if you find the short films Léonie was in, let me know!

Aside from these short films, Léonie was also in a film I have seen: Paul directed by Diourka Medveczky in 1969.  She’s in a small role alongside some great actors (Bernadette Lafont, Jean-Pierre Léaud, Jean-Pierre Kalfon) – she plays a member of a vegetarian community and I’m pretty sure this is her with short dark hair in the film (hard to tell as the supporting actors are rarely in the frame for very long):

Leonie Paul 1Leonie Paul 2Leonie Paul 3

It’s a film with very little story and hardly any dialogue but the cinematography is beautiful and so the film contains some great images and is a pleasure to watch.  Furthermore, you can get it with English subtitles fairly cheaply on Amazon in the Diourka-Lafont box set.  Diourka Medveczky is also a sculptor, so it seems Léonie liked hanging out with the arty types.

I don’t know whether Léonie was good at networking or whether it was just a coincidence but she worked on another film project with Bernadette Lafont and Jean-Pierre Kalfon in 1973 – Les gants blancs du diable (The White Gloves of the Devil), directed by László Szabó.  This time she wasn’t acting, but she sang a song (Couleurs) on the film’s soundtrack.  The soundtrack was written Karl-Heinz Schäfer – who also worked extensively with Christophe (and other Les Disques Motors artistes, such as Dynastie Crisis) as conductor for strong arrangements – and he went on to work with Léonie again on the Lennon 7”:

leonie_gants_blancs_backleonie_gants_blancs_front leonie_gants_blancs_labelA leonie_gants_blancs_labelBleonie_spanish_frontleonie_spanish_reverseleonie_spanish_labelA_webleonie_spanish_labelB_webLeonie004Leonie001Leonie003Leonie002

In the SLC article Léonie says it was meeting Christophe and Thierry Vincent (ex singer with the group Les Pingouins) that led to her recording her single En Alabama – the article seems to overlook her previous incarnation as Léonie Lousseau and the 1968 EP Je m’en vais faire un tour dans ma campagne:

Leonie Candie001 Leonie Candie002

Dominique Blanc-Francard (who was the bassist with Les Pingouins and brother of Patrice Blanc-Francard “C’est Pop2!”) co-wrote a track with Léonie, Banal, which was the b-side to his solo single C’est beau les mandolines of 1975:


But going back to Léonie Lousseau, I should say that one of the tracks on her 1968 EP was written by Jean-Claude Vannier (Le Cinérama) and he also appeared on the EP with his orchestra as Léonie’s accompaniment.  Léonie must be a lovely lady because he worked with her again in 1971 on the En Alabama 7”, again in 1972 on the Le jardin anglais 7”, and again in 1975 on the So Long, John 7”:

Leonie002Leonie003Leonie004Leonie005Leonie006Leonie007Leonie So Long John001Leonie So Long John002
French pop ad012 French pop ad013 French pop ad014
Léonie doesn’t seem to have done very much since 1975 but she did appear on some advertising jingles for Eram in 1978, which can be found on the Gotainer Poil à la pub CD from 1990.

Recently another Léonie single from 1979 was “found”  – Elisabetti ­– and you can find out more about this on the Blow Up Doll website here and listen to the A-side here and the B-side here (note the gorgeous photograph of Léonie to accompany the track).

Aside from providing the Elisabetti tracks, the YouTube Channel Maarnie47 also has two TV clips for So Long John and La fleur de serre – massive thanks to Maarnie 47 for sharing these rarities:

Leonie fleur 1 Leonie fleur 2 Leonie fleur 3 Leonie fleur 4 Leonie fleur 5 Leonie so long john 1 Leonie so long john 2 Leonie so long john 3

But what else do we know about Léonie?  Having written lyrics for Christophe’s Main dans la main and Good Bye, je reviendrai in the earlier 1970s, I have also read elsewhere that Léonie wrote lyrics for the b-side (Les Echevelées) of a Philippe Lavil single Heure Locale in 1976.

She has also, supposedly, provided inspiration for others as she is said to be La fille de la véranda from the song written by Étienne Roda-Gil for Julien Clerc   – Roda-Gil had co-written Wahala Manitou for Léonie around about that time so it’s not out of the question but I’m not sure if this is verifiable information or just an assumption.

I believe I read somewhere in the Christophe fora something about Léonie leaving the music industry after her brother’s death but again I don’t know where they sourced their information.  The Christophe fans do also mention that Léonie attended some Christophe concerts in the past year or so and they seem to be hoping this is a sign she might collaborate with Christophe again at some point.  Could be wishful thinking but you never know – maybe Christophe can introduce Léonie to Alan Vega and they can do a duet?!!

There is also mention elsewhere on the internet of a 7” record from South Africa called Wonderful Happy but the website didn’t have any images of a record or cover to prove that it is anything to do with Léonie.  But with Léonie being such a mystery it’s always possible – let’s hope that there is more to discover out there.  In the meantime I am trying to get my hands on the vinyl I do know about but don’t yet have and good quality copies of the TV appearances in full as well. 

But if you haven’t already seen my little write-up on Léonie’s brief appearance on Système 2 from 15 June 1975, which I do have in my collection, here it is

I’ll keep updating this article as and when I get new stuff or find out more information, but for now here is a vague discography without dates as these seem to vary from site to site:

Je m’en vais faire un tour dans la campagne / Le fleur de serre / Le cinérama / Candie (Fontana, 460.251)

En Alabama / Wahala Manitou 7” (Les Disques Motors, MT 4014)

En Alabama / Wahala Manitou 7” (Victor World Group, JET-2092, Japan)

Lilith / Lennon 7” (Les Disques Motors, MT 4020)

Lennon / Lilith 7” (Accion, AC 10.014 Spain)

Lennon (sung in Spanish) / Lilith 7” Accion, AC 10.025 Spain)

Couleurs 7″ the track is from Les gants blancs du diable soundtrack / the b-side is instrumental tracks by Karl Heinz Schäfer, Cardoni and Les gants blancs (Eden Roc, ER 62001)

Le jardin anglais / Mozart (Les Disques Motors, MT 4030)

So Long, John / L’Autre petit prince 7” (RCA Victor, 42014)

Elisabetti / Y’a rien a faire avec les hommes (Ariola, 100 633–100)

Gotainer Poil à la pub CD (Flarenasch, 472 040) – Léonie does 2 jingles for Eram

— 0 —

Hats off to Matthew Meek for the Salut Les Copains article and many thanks to Dave T for introducing me to Léonie’s music.

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