Renessanse for Ruth.

(Denne musikkvideoen ble produsert i 2015, men catcher tidsånden fra 1985 svært bra. Hele versjonen av låta kan du høre på Spotify.)

Enkelte må vente en stund på anerkjennelse. Da det franske bandet Ruth i 1985 ga ut sitt første og siste album, «Polaroïd/Roman/Photo», solgte det bedrøvelige 50 eksemplarer.

Primus motor i foretagendet, Thierry Müller, la deretter ned Ruth – som uansett bare hadde vært et sideprosjekt fra hans side. Årene gikk. Ruth så ut til å være henvist til evig glemsel.

Men rundt årtusenskiftet begynte plutselig noen DJer å spille tittelsporet fra den gamle, obskure plateutgivelsen. Og de likte det de hørte. Snart nynnet (og danset) en helt ny generasjon til låta.

Polaroïd, roman photo
Aimant les flashes sentimentaux
Humanoïde, incognito
Amour impossible et mélo

Pellicule impressionnable
Petite bulle inconsolable
Je n’ai pas l’âge d’être sage
Comme une image, dommage, Dommage
Dommage

Originaleksemplarer av LPen ble solgt på Ebay for 300 £. (Baksidecoveret gir – for enkelte – albumet en ekstra bonus som samleobjekt.) Det var rett og slett duket for en svært forsinket – og helt uventet – anerkjennelse av musikken.

I 2010 ble Thierry Müller intervjuet i The Quietus om renessansen for hans gamle bandprosjekt. Her får vi bl.a. vite følgende om den kvinnelige vokalen:

Originally, the lyric was sung by Frédérique Lapierre, who wrote lyrics on the album and sung on other tracks. But her voice was too mellow for this mix. The well-known mix was sung by a friend of the sound engineer, and I saw her only for this take.

(…)

When was it that you became aware that the ‘Polaroïd/Roman/Photo’ track had been rediscovered?

Thierry Müller: It begun around 2000 or 2001. I put my website online and started to receive many mails from everywhere in the world – people wanting to get a copy of the original LP, people saying that they heard it in disco and DJ sets. At the time it was really underground. It was not well distributed. It was completely crazy – I could never have imagined such a thing.

(…)

Is it strange, ‘Roman Polaroïd Photo’ having this new life?

TM: Yeah, it is really strange. It is a good track, I think – it still works. It has gone very far since it started showing up on compilations. I have DJs telling me, I love this, I played this, and at the time it was nothing, nothing. When I started Ruth, it felt like a project like this could exist in France – it felt like there was finally air to do things, that would could breath in a more artistic way. There was – but not as much as we hoped. France was still the country of our parents. But since the ’80s, there has been a huge change in the culture and the politics, and it is much more easy to do things. Looking back, it was really a junction.