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5:55 Import

39 customer reviews

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Audio CD, Import, October 10, 2006
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$6.99 + $3.99 shipping Only 1 left in stock. Ships from and sold by nibbles13.

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Editorial Reviews

The 2006 Second Full Length Album from the Chanteuse/Actress Daughter of French Singing and Sonwriting Legends Serge Gainsbourg and Jane Birkin Comes Only a Decade after her Debut (Which was Written for her by her Late Father). In the Interim, She Has Made Appearances on Albums by Madonna (Speaking the Intro to "What it Feels Like for a Girl"), Etienne Daho (Duetting on the Hit Single "if", from his Album "Reevolution"), Two Tracks on Badly Drawn Boy's "Have You Fed the Fish" and the Soundtrack of the Film "Love Etc". This Project was Recorded with Jarvis Cocker (PULP), Neil Hannon (Divine Comedy), Air and was Produced by Nigel Godrich (Radiohead, Paul Mccartney).


1. 5:55
2. Af607105
3. Operation
4. Tel Que Tu Es
5. Songs That We Sing
6. Beauty Mark
7. Little Monsters
8. Jamais
9. Night-Time Intermission
10. Everything I Cannot See
11. Morning Song

Product Details

  • Audio CD (October 10, 2006)
  • Number of Discs: 1
  • Format: Import
  • Label: Wea International
  • ASIN: B000GYHTJ0
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (39 customer reviews)
  • Amazon Best Sellers Rank: #560,494 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

15 of 15 people found the following review helpful By Steven Guy on November 12, 2006
Format: Audio CD
I put on this album at work the other day out of sheer curiosity. I liked the music of Serge Gainsbourg and Jane Birkin and I was wondering what their offspring's album might be like. Arianna Savall, the daughter of Jordi Savall and Montserrat Figueras, has done some lovely music and her album was highly accomplished. So sometimes the sons and daughters of singers and musicians do succeed in music, too.

I noticed that Jarvis Cocker and one of the members of Air were involved in mademoiselle Gainsbourg's album and that provided me with further incentive to hear this recording.

Okay, this album contains some very attractive music. The piano dominates and the instrumental shell around the singer's voice has an beguiling ambient character. The use of a string orchestra with the piano also impressed me.

I like the fact that Charlotte Gainsbourg's voice sits inside the instrumental music, rather than riding over the top. Ms Gainsbourg often singing in a very subdued way, almost a whisper. Normally, I find this approach a little tedious, but it works well here and is perfectly in keeping with the music.

I listened to this album three times today and I bought it.

I wouldn't mind seeing a collaboration between Charlotte Gainsbourg and John Foxx and/or Harold Budd. I can almost imagine her singing "He's A Liquid".

I warmly recommend 5.55 and I am sure that many music lovers will find much to enjoy in this subtle album.
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11 of 11 people found the following review helpful By starschaser on June 7, 2008
Format: Audio CD
Her mother Jane Birkin added her breathy, orgasmic tones to her father Serge Gainsbourg's "Je T'Aime... Moi Non Plus".
And the family resemblances are unavoidable in Charlotte's album, that voice hesitant, barely a whisper at times, but shimmering with sexiness.
What saves this album from being a lot of Gallic mumblings bound up in its own self-importance is the heavweight help the family name commanded.
The result of Gainsbourg's meeting with Nicolas Godin, one half of French electronica duo Air, at a Radiohead concert in Paris, "5:55", is a carefully crafted gem.
Charlotte's voice is as slight and breathy as her mother's, but lyrics by Jarvis Cocker and the Divine Comedy's Neil Hannon create a hazy, Gauloise-inflected intimacy against full, string-rich arrangements by producer Nigel Godrich, those Parisian maestros of wafting electronica "Air" are on board, as is "Radiohead" producer Nigel Godrich and Nigerian percussionist Tony Allen, lauded by Brian Eno as "the greatest musician on the planet".
The title track "5:55" and the first single "The Songs That We Sing stand out", the former haunting and piano-led, the latter carrying an infectiously boisterous chorus.
At times Charlotte's thin voice and finishing-school vowels can grate, but the album as a whole is emotive, rewarding and compelling - a world away from feather-strewn beds and dodgy filial duets.
We get the mildly erotic, such as the teasing "Beauty Mark", and we get something like beat poetry in "AF607105", with its stark lines about air travel.
There's also big helpings of the kind of wistful balladeering only the French can muster.

4 * * * * and 1/2.

...Read more ›
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12 of 14 people found the following review helpful By Cale E. Reneau on April 24, 2007
Format: Audio CD
They say if you're not any good at singing, you should surround yourself with the best musicians you can find. Time after time, this little method of canceling out one's vocal flaws has worked with almost no one noticing. So when I first heard that Charlotte Gainsbourg, a rather accomplished (or at least, talented) actress, was making an album with the help of the guys from Air, Neil Hannon of The Divine Comedy, and the one and only Jarvis Cocker, my first thought was that I was in for another lesson in "How Not to Sing." But I was terribly mistaken. As it turns out, Charlotte Gainsbourg is extremely talented. And wouldn't you know it? "5:55" is beautiful!

While not possessing the most powerful voice ever captured on an album, Gainsbourg does a brilliant job of blending her vocals in with Dunckel and Godin's Air-ish compositions. She accomplishes this by half-whispering most of her lyrics, but it sounds absolutely perfect. On the title track, "5:55," she sings, "Soon the morning will arrive. Can I begin another day whilst this old day is still alive, refusing to be put away," so beautifully that it feels like she's singing only for you. This brilliant lyric is penned by Cocker, as he and Hannon share most the songwriting duties on the album.

"The Operation" is perhaps the standout track on the album. It utilizes a steady electronic drum beat to accompany a great piano composition and bass line. The highlight of the song comes about half way through when the music drops out to leave Charlotte whispering, "Our love goes under the knife. Nothing is taboo here on the cutting edge of science..." It is yet another fantastic song.

'The Songs that We Sing" is the first time the album crosses into near-pop territory (later revisited in "Everything I Cannot See").
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4 of 4 people found the following review helpful By catskis on September 15, 2006
Format: Audio CD
I wish this review forum would allow for half stars, because I am really only just such a small step away from giving a full five stars. -- Charlotte's album captures an evocative nature and provides a taste of exotic accoustic beauty amongst a fog of entrancing classical undertones. The overall tone bears resembelance to fellow Parisian artists 'Air', with the help of their collaboration on the album. Throughout each song, Charlotte's voice whispers along to a sensational variety of musical intrigue and creates a unique empire of sound...an unruly yet captivating blend of genres: "Little Monsters" with its more classic rock/pop flavor, "Morning Song" with a softer accoustic/ambient feel, the classical lounge jazz feel of "Night-Time Intermission" and then going a bit stronger with more pop (a hint of country) and a slightly vibrant tone in "The Operation" and "The Songs That We Sing".

I only wished that Charlotte could have reached even further and gone even stronger with her songs and her beautiful voice...to have reached a level just a touch above those that she already touched upon, if only for one song. Even so, in all...a great album!!
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