How can you not love an american girl from California whose love of 60's french pop is such that she releases album after album of old yé-yé covers draped in gloriously retro album jackets? It's practically impossible, isn't it? Well, her name is Elinor Blake, more widely known as April March. Delicious, isn't it?

The song I bring you here today has made her famous by being featured in two movie soundtracks but there's definitely much more to discover from this evergreen chanteuse. Of curious note is the fact that she has worked as an animator in some pretty high profile projects, namely Pee-Wee's Playhouse and the opening credits and video for Madonna's Who's That Girl. Pretty good, huh?

But I'm going to leave you with the french version of Chick Habit, the Gainsbourg penned Laisse Tomber Les Filles, made famous by another very well-known chanteuse - France Gall. See you soon!

To me, it's endlessly amazing how incredibly frenetic and vivacious the Yé-yé scene was. I seem to be able to find a "new" singing girl every month. The amazing thing about that is that the level of quality of the songs is most of the times very high. Infectious pop in all its glory.

Today's fille is one Annie Philippe, which had a brief but nonetheless hit-filled career. She somehow managed to make her mark among much bigger names than her on a market that was over-populated with female singers with arguably better song material than her (yes, I'm talking about Claudine Longet, France Gall and even Zouzou). In fact, her voice register is highly reminiscent of one Ms. Gall and if you're fan of the latter, you're sure to instantly become very fond of the former.

Philippe was very fortunate, though to have one Paul Mauriat as the arranger of most of her songs and this is where most of her appeal lies, as I'm sure that there are plenty of his admirers out there. But enough chatting - listen to one of her greatest hits: C'est La Mode.

Absolutely adorable video for Duckworth Lewis Method's Neil THE DIVINE COMEDY Hannon and Thomas PUGWASH Walsh. More on this eccentric little project one of these days.

And speaking of beautiful male voices, here's one that ties the post about The Divine Comedy written below and the next video I shall be posting very soon: Scott Walker and his second solo album, simply titled 2.

I've listened so much to his music and voice that he's almost part of my own DNA. He touches all the right nerves and spots and I really feel transported to a very special place in my mind whenever I listen to one of his songs. This album in particular has a handful of my favorite songs from him but I guess I could've picked any album from the first part of his career (which continues to be the benchmark of the continuous fascination he provoques on audiophiles, although he'd be very mad at these words if he read them, with all the avant-garde records he's been putting out recently) and I wouldn't go wrong.

If you like lushly orchestrated pop ballads sung in the most melifluous of voices, this is the record for you. And I leave you with a masterpiece: Plastic Palace People. Until the next post, be safe.

I just love it when I listen to a new band or sound and it instantly clicks. That's exactly what it happened with Austin, Texas based band Shearwater. They've recently released a new album but I'm still going through their back catalogue and finding a bounty of reasons to write about each and every one of them in here. Today, I'm focusing on their second album proper, Rooks.

Rooks finds Shearwater perfecting their preciously woven sound with even greater epic sounding songs and wide scope-like musical canvas. And then there is that voice. My God. It's been a long time since I've heard such a crystalline sounding male voice, perfectly in command of the song's emotional curves and thematic arches, frail and delicate one second and brave and commanding the other. I'm hooked.

I'm going to leave you with one of its grander moments, The Snow Leopard. Please enjoy it.