Lyricist Boris Bergman, 82, has shed light on his relationship with the late French singer Alain Bashung, correcting the long-held belief that the two men remained estranged until Bashung’s death. Speaking to 20 Minutes, Bergman revealed that while the pair fell out in the early 1980s, they eventually reconciled. The revelation accompanies the release of a double tribute album, 'C'est la faute à Bashung', initiated by Bergman and the duo Nowhere, which features over thirty artists covering obscure tracks from Bashung’s repertoire. [1]

The partnership between Bashung and Bergman began in the mid-1970s, resulting in some of the singer’s most celebrated early hits, including 'Bijou, bijou', 'Gaby, oh Gaby', and 'Vertige de l’amour'. Bergman, featured in an 1981 Libération profile as the man behind half of Bashung’s success, reflects on their professional split. He attributes the rupture not to Bashung’s ego, but to the singer’s entourage. Bergman also challenges the narrative that Bashung lacked compositional skills, stating: 'He was a magnificent composer and people completely forget to say he was a great guitarist.' He notes that Bashung was, at times, a co-author of lyrics simply because industry credibility at the time required an artist to be labeled an author-composer. [3]

Contrary to the legend that says they never reconciled, Bergman recounts a period of silence lasting three years after their falling out, followed by a serendipitous reunion at the Antilles Clips Festival. On stage, divided onto opposite sides, the two were presented by Laurent Boyer as co-presidents of the jury alongside Jacques Demy. Bergman recalls them exclaiming in unison, 'Sans mousse' (without foam/a French cultural reference), causing Boyer to laugh. Three days later, Bashung called to resume their collaboration, leading to work on the albums 'Passé le Rio Grande' (1986) and 'Novice' (1989). [2]

While myth suggests the two never saw each other again after 'Novice', Bergman discloses a final, intimate meeting at a Parisian brasserie, La Mascotte. The lyricist had been sitting at the counter when Bashung arrived and beckoned him over. They spent roughly an hour talking about cinema and everything else. Bergman compares the atmosphere to the novel 'Romanée-Conti 1935' by Takeshi Kaikô, where two Japanese men share a bottle of wine and discuss mundane matters. This encounter took place just one month before Bashung passed away on March 14, 2009, at the age of 61 from cancer. Bergman emphasizes that he kept this story private as it was personal, but gives permission for its publication now. 'I didn’t want to feel it was the last time I saw Alain, but I felt it anyway,' Bergman says. 'He was happy we had met again. He had the smile, the look of the guy who knows he is about to disappear. There, we met up again, and we had a nice little moment.' [2]

Bergman clarifies the nature of their professional split, insisting it stemmed more from Bashung's inner circle than the singer himself. He defends Bashung's musical prowess, countering the perception that he relied solely on Bergman for his creative output. [2]

The public narrative often claimed that Bashung and Bergman had been at odds until the very end of the singer's life. [2]

After a three-year hiatus, the duo reconnected unexpectedly at a festival. [2]

Read more on 20minutes. Also read: Francis Cabrel, Pierre Richard, Emma Daumas... Behind the scenes of the surprising double album tribute to Alain Bashung. 'All the wrong ideas about me are true', says James Blunt. [2]

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Sources

  1. 20 Minutes « On s’est revus »… Le parolier Boris Bergman révèle n’avoir pas été fâché jusqu’au bout avec Alain Bashung
  2. fr.news.yahoo.com « On s’est revus »… Le parolier Boris Bergman révèle n’avoir pas été fâché jusqu’au bout avec Alain Bashung
  3. 20 Minutes « On s’est revus »… Le parolier Boris Bergman révèle n’avoir pas été fâché jusqu’au bout avec Alain Bashung