Chords for Jean-Jacques Goldman "Il faut être le maître d'oeuvre de sa carrière" | Entretien Sacem

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What [N] are you listening to at the moment?
Do you listen to a lot of music?
Are you on the
lookout for everything that's happening or do you stick to your basics?
No, no, I don't
listen to much anymore and that could lead to another conversation.
I think that to want
to do something, you have to be passionate. _
I don't know any colleagues who aren't passionate
about music. _ _ _
They have an incredible culture.
They love music.
They listen to music all
the time.
That's not the case for me anymore.
I did it for 30 years and I don't do it anymore.
There you go.
So, obviously, we're not making any progress.
There you go.
We're always going
to say it again.
Oh yeah. _ _
Well, listen, Bob Dylan must be on his 73rd album.
_ I dare you
to tell me about his 52nd.
That's true.
It's the same with Paul McCartan.
There you go.
What does it mean to last?
Is it complicated?
No, we can still last because we have expertise
and all that.
But there is no longer any urgency or novelty of the first albums.
Uh, I don't think
there are many counter examples.
The first two albums, the first one, you want to call the second
one, you want to call it minority.
And the first one was what?
It was outdated.
I think outdated.
Yes, there you go.
It's still there.
There are some marketing whizzes who said John Jock.
We'll
just call it John Jock Goldman.
John Jock Goldman is outdated.
Just one thing.
They also
asked me to change my name because Goldman is serious.
Yes.
Yes.
Why?
Because he says Mitchell,
because Johnny Holiday, because I don't know what, but in any case, John Jock Goldman,
it didn't sound serious.
It was unplayable.
Wow.
And what do you say to that?
I said no. _ _ _ _ _
_ _ _ I hear a
lot of artists talk about artistic independence and all that.
Personally, I've never really seen
any huge pressure.
I've never seen any huge pressure from the moment.
You know what you want.
If you leave the space empty, many people want to take it.
And I don't believe in their skills.
_ I
believe that all the artists I've met who have succeeded or the masterminds of their career,
_ _ _ whether it's the choice of cover art, the choice of videos, the choice of approach,
the choice of shows, the tempo of the shows.
We have a duty to listen to record companies
and learn from them because they have experience, but you have an obligation to make your own
decisions. _ _
But whether it's Renault or Ball of Juan, you have to decide for yourself which
venues you want to play, how you're going to work from the start, which musicians you're
going to hire, which arrangers you're going to hire and what you're going to release or not.
_ _ _ So the marketing man for all the successful artists I've known was them first and foremost.
That's it.
And that's not a pejorative term because behind marketing, there's also the
idea of what you want to show people and what you want to be to them.
I think there
are really two phases.
_ _ There's the setting up of your career and then there's when you're
established.
_ There's one thing that changes fundamentally, which is that at the beginning
you have to attract people.
Obviously, that's the most difficult period.
Then when you are
settled into your career, it is clear after three years that from now on, Stro-Mai will be able to
do what he wants because he is not the one seeking the public's attention.
It is the public
who is waiting for what Stro-Mai is going to do.
There is something that happens at a certain point
in your careers that is fundamentally different.
It is not necessarily at the level of Stro-Mai's
success.
I see someone like Thomas Fersen or Michel Jonas.
People are waiting.
There is a
part of the public that is waiting.
It is an extraordinary [D] comfort.
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