Pierre Bachelet è nato il 25 maggio 1944 a Parigi. Passa la sua infanzia ad Calais quindi a Parigi o segue studi di cinema prima di di fare il suo servizio militare al servizio cinematografico degli eserciti. Pur raschiando la chitarra nei cabaret parigini, lavora a partire dal 1968 all'illustrazione sonora di un'emissione televisiva. Nel 1972, realizza un documentario su Pablo Picasso e l'anno successivo registra il suo primo 45 giri. Ma durante quest'anni 70, dedica la maggior parte del suo tempo alla composizione di musica di pellicole come "Emmanuelle", "la vittoria cantando" o in "bronzate le trasformano lo sci". Nel 1980, fa uscire un secondo album che comporta il suo primo successo "essa È di altrove" quindi nel 1982 l'album che lo fa conoscere del grande pubblico con il titolo "Corons".
The meteoric success of the original Emmanuelle film among mainstream audiences was arguably enhanced by the film's theme song, which enjoyed pretty broad airplay during the 1970s.
Whereas most erotic films contain music that's reflective of their extended sex scenes, Pierre Bachelet and Herve Roy's score is mostly comprised of variations of a singular theme - often light pop, rock, English and French vocal versions, and a few rare, threadbare atmospheric interpretations.
‘Emmanuelle Swims’ is an ambient series of electronica, but it never develops beyond its short minute and a half running time, whereas ‘Emmanuelle Theme (Instrumental Variation)’ is the film's lone 'coupling theme', and frequently swells above all other elements in the film's sound mix. The album's variation is similarly brief (rather ironic, considering the length of its use in the movie) and contains an appropriately driving rhythm, ascending chords, and synthetic dissonance which ultimately obliterates the short melodic line performed by electric keyboards. A second variation involving wailing saxophones, electric bass, and drum kit are used during the film's controversial ‘Rape Sequence.’
‘Mood’ offers a short, reflective composition, and the small combo of acoustic guitar, sustained synth chords makes for a good break between regular theme reprises throughout the album. ‘Opium Den,’ mixes bongos, sax, and reverse-processed cymbals, and is among the album's longest cues at over 2 minutes, while ‘Cigarette Act,’ similar in length, uses synth organ, acoustic guitar and drums for an extended series of phrase repetitions for an infamous sequence involving cigarettes most creatively.
As an album, it's a classic program of title theme repetitions placed between minor variations and short secondary themes, and is overall pretty monotonous. The album is a fair representation of the film score, although most secondary tracks feel truncated, and never develop into anything beyond introductory quotations for extended screen copulation.
In Emmanuelle, Ray and Bachelet's skill is in crafting a theme that doesn't demean the titular character; Emmanuelle is a sexually avaricious creature who (mostly) maintains control during sex, and has men figuratively kneeling in adoration of her powerful inner and outer beauty. Functionally, it's still contrived bonking music, but Bachelet and Roy's theme is imbued with a deliberate sense of self-reflection, and its wistful piano intro sets it apart from more contemporary theme songs that largely focus on gyrating rhythm instead of character.
01 emmanuelle in the mirror
02 emmanuelle song (french vocal)
03 emmanuelle in thailand
04 emmanuelle steps out
05 emmanuelle theme (variation)
06 night club
07 emmanuelle swims
08 emmanuelle in thailand (Variation)
09 emmanuelle theme
10 emmanuelle song (English Vocal Version)
11 emmanuelle theme (Instrumental-Variation)
12 mood
13 emmanuelle theme (Up-Tempo Instrumental)
14 opium dream
15 rape sequence
16 emmanuelle theme (Instrumental)
17 cigarette act
18 emmanuelle in the mirror
File Specs
File Format : mp3
Bitrate : 192 CBR
