Pamiętacie tę piosenkę?

W wersji oryginalnej oczywiście nie możecie (nie możemy) jej pamiętać, bo piosenka skończy w przyszłym roku sto lat, ale nawet w wersji ćwierć wieku późniejszej też jej nie możemy pamiętać:

Sur cette terre, ma seule joie, mon seul bonheur
C’est mon homme.
J’ai donné tout c’que j’ai, mon amour et tout mon cœur
À mon homme

Sur cette terre, ma seule joie, mon seul bonheur
C’est mon homme.
J’ai donné tout c’que j’ai, mon amour et tout mon cœur
À mon homme
Et même la nuit,
Quand je rêve, c’est de lui,
De mon homme.
Ce n’est pas qu’il soit beau, qu’il soit riche ni costaud
Mais je l’aime, c’est idiot,
Il m’fout des coups
Il m’prend mes sous,
Je suis à bout
Mais malgré tout
Que voulez-vous

Je l’ai tell’ment dans la peau
Qu’j’en d’viens marteau,
Dès qu’il s’approche c’est fini
Je suis à lui
Quand ses yeux sur moi se posent
Ça me rend toute chose
Je l’ai tell’ment dans la peau
Qu’au moindre mot
Il m’f’rait faire n’importe quoi
J’tuerais, ma foi
J’sens qu’il me rendrait infâme
Mais je n’suis qu’une femme
Et, j’l’ai tell’ment dans la peau…

Pour le quitter c’est fou ce que m’ont offert
D’autres hommes.
Entre nous, voyez-vous ils ne valent pas très cher
Tous les hommes
La femme à vrai dire
N’est faite que pour souffrir
Par les hommes.
Dans les bals, j’ai couru, afin d’l’oublier j’ai bu
Rien à faire, j’ai pas pu
Quand il m’dit: “Viens”
J’suis comme un chien
Y a pas moyen
C’est comme un lien
Qui me retient.

Je l’ai tell’ment dans la peau
Qu’j’en suis dingo.
Que celle qui n’a pas aussi
Connu ceci
Ose venir la première
Me j’ter la pierre.
En avoir un dans la peau
C’est l’pire des maux
Mais c’est connaître l’amour
Sous son vrai jour
Et j’dis qu’il faut qu’on pardonne
Quand une femme se donne
À l’homme qu’elle a dans la peau
À l’homme qu’elle a dans la peau
C’est mon homme, c’est mon homme
Un homme que j’ai dans la peau
Un homme que j’ai dans la peau
C’est mon homme
C’est mon homme, c’est mon homme, c’est mon homme


Ale w tej… o, w tej wersji słuchaliśmy jej wszyscy i być może to ona odpowiadała za nasze pierwsze uniesienia erotyczne (przynajmniej tak wynika z powieści Ni pies, ni wydra Wiki Korb, berlińskiej pisarki, o jej ostatnim roku w Polsce – przed i po Marcu 1968):
Blady Niko!

Grzegorz, który zrobił to wideo i wstawił tę piosenkę na youtube’a napisał:

Barbara Rylska — Blady Niko (Pale Nico) (Original French title: Mon Homme) (Muz. Maurice Yvain, Tekst: Stanisław Ratold) Recorded by Muza, 33 rpm. (Warsaw, Poland ca 1967)

“Mon Homme” (Polish title: Blady Niko, meaning in English: Pale Nico) was a great hit of the early 1920s, composed in Paris by Maurice Yvain and made famous in 1922 by Mistinguett – la grande vedette of the cabarets of Paris. Originally composed as a Fox-Trot, it was sung by her more “a la maniere du chanson artistique”. During its long and worldwide career, that song was sung by many artists also as tango – such was first Polish recording of “Blady Niko”, made in Warsaw in 1922 for Syrena Grand Rekord by a cabaret singer Stanisław Ratold, who was also author of the Polish text – full of passion and desire. I never heard that version, but only with an utmost effort of my imagination I can see a man! — confessing in public such heartbreaking story of his mad love for a criminal hunk Blady Niko, who: “beats me to blood, takes away my money but when he approaches to kiss me, every nerve trembles in my flesh” 🙂

Now, I am presenting “Mon Homme” (Blady Niko) performed as ultra-hot tango and recorded in late 1960s in Warsaw, by Barbara Rylska. In a communist Poland, Rylska was one of these wonderful stage artists who were able to recall with taste and refinement — in almost perfectly mimetic way and with only a discreet parodistic touch — the atmosphere and style of legendary pre-war cabarets and music theatres of Warsaw. The hot apache-tango “Blady Niko” sung by Rylska’s low and slightly harsh voice belongs, no doubt to her peak achievements. What a great loss for Polish stages was her withdrawal from artistic career, in the end of the 1970s!


Piosenkę śpiewały wszystkie liczące się piosenkarki na świecie. Tu Billie Holiday:

Although the song originated in France — where it was a hit for Mistinguett in 1916 — it was popularized in the English speaking world in the 1920s with the 1921 recording by Ziegfeld Follies singer Fanny Brice. The song was a hit, and the record eventually earned a Grammy Hall of Fame Award for Brice in 1999.

The ballad version recorded by Brice was modified by Billie Holiday, who introduced a jazz/blues recording of “My Man.” Holiday’s version was also successful, although the song continued to be associated with Brice. Over the years, other artists from both the United States and abroad covered the song, though none of the artists achieved as much success as Brice and Holliday. One notable version was a 1940s recording by Edith Piaf, the most notable recording of “Mon Homme” in its original language.

Peggy Lee recorded the song for her 1959 album “I Like Men!” Her arrangement is very minimalistic, with the drums predominant in the mix.

In 1965, the song was covered by Barbra Streisand, the then-rising star of the hit Broadway musical, Funny Girl, a semi-biographical account of Fanny Brice’s life. Streisand’s cover became a minor commercial success, and was also included on the album My Name Is Barbra and in the film adaptation of Funny Girl. Her emotional rendition of “My Man” as the film’s finale drew additional critical praise to an already lauded performance that earned her the Academy Award for Best Actress in 1968.

Diana Ross performed the song in her final concert appearance as a Supreme at the Frontier Hotel in Las Vegas, Nevada, on January 14, 1970. Her performance was recorded & later released on the 1970 live album, Farewell. Ross adopted Billie Holiday’s jazz and blues version rather than the Brice or Streisand versions. In 1972, Ross recorded “My Man” again for the soundtrack for the film Lady Sings the Blues, in which she portrayed music legend Billie Holiday. The soundtrack album peaked at #1 on Billboard’s Pop albums chart, reportedly selling over 300,000 copies during its first eight days of release. Ross’ acting received critical acclaim and Golden Globe and Academy Award nominations for Best Actress; she won the Golden Globe award for “Most Promising Newcomer.” Ross’ second version of the song was a revival of Holiday’s jazz/blues reading. Ross gave one of her most critically hailed performances of the song in 1979 at Caesars Palace, Las Vegas, Nevada, which was recorded for an HBO concert special during her “The Boss” world tour.

It’s cost me a lot
But there’s one thing
That I’ve got
It’s my man
It’s my man
Cold and wet
Tired you bet
All of this I’ll soon forget
With my man
He’s not much on looks
He’s no hero out of books
But I love him
Yes, I love him
Two or three
Girls has he
That he likes as well as me
But I love him
I don’t know why I should
He isn’t true
He beats me too
What can I do?(refrain)
Oh my man I love him so
He’ll never know
All my life is just despair
But I don’t care
When he takes me in his arms
The world is bright
All right
What’s the difference if I say
I’ll go away
When I know I’ll come back on
My knees someday
For whatever my man is
I’m his forever more
Oh, my man, I love him so, he’ll never know
All my life is just despair, but I don’t care
When he takes me in his arms
The world is bright, all right…
What’s the difference if I say I’ll go away
When I know I’ll come back on my knee someday
For whatever my man is, I am his forever more
It cost me a lot,
But there’s one thing that I’ve got, it’s my man
Cold and wet tired, you bet,
But all that I soon forget with my man
He’s not much for looks
And no hero out of books is my man
Two or three girls has he
That he likes as well as me, but I love him…
Oh, my man, I love him so, he’ll never know
All my life is just despair, but I don’t care
When he takes me in his arms
The world is bright, all right…
What’s the difference if I say I’ll go away
When I know I’ll come back on my knee someday
For whatever my man is, I am his forever more…

O dziwo, nie znalazłam tej piosenki w wersji niemieckiej, choć przecież powinny ją były śpiewać Claire Waldoff, Zarah Leander i Marlene Dietrich, natomiast jest jej wersja hiszpańska, nagrana przez Maruję Garrido z… Salvadorem Dali w roli tego obłędnego mążczyzny, którego śpiewająca kobieta kocha bez pamięci.

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